Skip to main content

Full text of "International photographer (Jan-Dec 1941)"

See other formats 


♦  >*  /- 


Bfi 


I  F 


I 


£  IE  mBP   • 


■L.  -^I^JWffiSfflrt 


I  1  •     v  ■  -  — '  E  '*" '  ■' \  "  . ■ 

>■  ••  •  1  3HH 93%  r  ;■■•  t -"'••:,' gags §F>*3  l-,;.>v 


'JJr. 


WBBKNrfBWk  IrfliiMrirnTi^TTTmfff      ifrr'?? 

"• '■;.'.''    .-   ■'  §§  ■   ■       '..''■.■  A  •■'• . 


1  0 


■■■"     -'.">:?  V    \ 

HHL 

"If 


ART  REEVES 


Scanned  from  the  collection  of 
Dino  Everett 


Coordinated  by  the 
Media  History  Digital  Library 
www.mediahistoryproject.org 


Funded  by  a  donation  from 
David  Pierce 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Media  History  Digital  Library 


http://archive.org/details/internationalpho13holl 


January,  1^41 


L    ■  ^^^^ 


25  CENTS 


^ 


j^^  t| 


ft 


fPOE 


FILTER  FACTORS 


Filter 

Aero  - 1 
Aero -2 
21 
23A 
25A 
29F 
15G 
3N5 
5N5 
25ND 
50ND 
75ND 
100ND 


•Times" 
Factor 

1.5 
2.0 
2.5 
3.2 
3.2 
5.0 
2.5 
6.3 
8.0 
1.8 
3.1 
5.6 
10.0 


"Stop" 
Factor 


1X4 

Wi 

3 
1 

lli 

3M 


35%  Motion  Picture  Raw  Stocks 


perior-3 


Type    127 


"Double-Quick" 


The  over-all  sensitivity  of  this  film  is  approxi- 
mately twice  that  of  the  usual  studio  negative.  Yet 
for  a  high  speed  material,  the  image  formed  is 
remarkably  fine-grained. 

Scenes  made  on  Superior-3  can  be  spliced 
readily  with  those  taken  on  slower  films.  The  con- 
trast is  variable  within  the  usual  working  limits. 
Gamma  for  gamma,  a  50%  increase  in  developing 
time  is  required.  This  builds  up  the  low-key  detail 
without  producing  hardness. 

Superior-3  possesses  the  stability,  uniformity 
and  wide  exposure  latitude  typical  of  all  Du  Pont 
Cine  Negatives.  When  shooting  with  poor  or 
inadequate  lighting,  its  extra  speed  frequently  spells 
the  difference  between  good  and  mediocre  results. 


LOG     EXPOSURE      (BtL) 


DU  PONT  FILM  MANUFACTURING  CORP.,    9  ROCKEFELLER  PLAZA,  NEW  YORK,  N.  Y. 
SMITH  &  ALLER,  LTD.,  6656  SANTA  MONICA  BLVD.,  HOLLYWOOD,  CALIF. 


International 

phOTOQRAphER 


Vol.  XII 


January,  1941 
On  the  Cover 


No.    12 


Orson  Welles,  in  the  title  role  of  "Citizen  Kane."  making  a  political  address. 
See  also  pages  4,  5,  6  and  7. 

LEADING  ARTICLES  IN  THIS  ISSUE 

Montage — Page  3 

Co-operative  Research  Lab — Page  8 
Four  Lears  in  an  Ice  House — Page  11 
Cameraman  in  the  Air,  Morris — Page  17 
Columbia's  Quake,  Rosen — Page  21 

PICTORIAL  FEATURES 

"Liquid  Sunshine,'"  Mortensen — Page  2 

"Citizen  Kane,"  Kahle — Pages  4,  5,  6,  7 

"I  Wanted  Wings,"  Lobben  and  Morris — Pages  14,  15,  16 

REGULAR  DEPARTMENTS 

16  mm  Department — Page  22 
Television — Page  23 
Tradewinds — Page  25 
Patents — Page  26 
They  Say — Page  27 


Editor,  Herbekt  Allek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 

Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 
Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 
George  Scheibe. 

Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.   (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


111-QgEBS- 

BROWN-CAlDWEll 


GOERr 

KINO-HYPAR 
LENSES 

I       f:2.7  and  f:3 

{  for  regular  and  color 
;  movies  of  surprising 
qualify.  High  chromatic 
correction  .  . . 

Focal  lengths  15mm  to  100  mm — can  be  f 
in  suitable  focusing  mounts  to  Amateur 
Professional  Movie  Cameras. 


"1 


itted 
and 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


I 

COERZ    Parallax-Free   FOCUSER    I 
and    FIELD    FINDER    CONTROL    > 

for  Filmo   121    and  Simplex-Pockette,   no   more 
off-center  pictures,  magnifies  4  and  8x. 

For   Detailed    Information    Address 
Dept.    IP    I 

C.  P.  Coerz  American  Optical  Co. 

317   East   34th  St.,   New  York 


I 

American    Lens    Makers    Since    1899 


Subscribe  Now! 

INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A..  $3.00  in  Europe  and  Canada 


Efficient  Courteous 

Service 

■ 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 


HOLLYWOOD 
Cable  Address: 


CALIFORNIA 
'CAMERAS" 


LIQUID  SUNSHINE" 


By  William  Mortensen 


MONTAQE 


! 


The  studied  carelessness  of  effect,  told  in 
a  few  feet  of  film,  must  be  carefully  exact. 


Montage!  A  little  known  but  lusty  infant 
imong  the  sundry  arts  whose  final  assem- 
)ly  is  the  motion  picture  production.  Little 
;nown.  but  growing  fast.  Paced  by  its  own 
nner  fire  "tempo,"  it  has  seemingly  at  one 
troke  surged  to  a  position  of  major  influ- 
■nce  as  a  tool  for  telling  the  picture  story. 

Define  montage?  No.  As  well  define  an 
a  mood,  induced  by  the  in- 
creates    impressions — 


mpression 


angible.    Montage 

noods.  Through  its  devious  mechanics  the 

nontage  says,  "It  is  Spring!";   "This  is  a 

onely  house!";   or  "This  man  drinks  too 

nuch  and  is  unkind  to  old  ladies  and  little 

logs!" 


Montage  mounts  its  impressions  with 
consummate  cunning.  The  impact  of  its 
inferences  are  at  once  studied  and  careless, 
never  to  be  analyzed,  yet  instantly  under- 
stood. Tempo  is  the  life  and  blood  of  mon- 
tage. Whole  chapters  of  a  novel  may  tell 
of  the  boyhood  struggles  of  a  leading 
character.  Montage  says  it  in  eighty  cryp- 
tic feet.  When,  in  a  picture,  a  montage 
impression  has  passed,  an  audience  must 
know  and  understand  its  message  as  thor- 
oughly as  the  one  created  in  a  novel. 

So  montage,  with  all  its  studied  careless- 
ness of  effect,  has  in  its  practice  and 
achievement  of  this  effect  all  the  craft  and 


LiMITATIONS  EINCOUNTEREd  by 

phoToqRApkERs  of  tIie  nucIe 

By  WILLIAM  MORTENSEN 


The  Artist  in  all  times  has  been  sub- 
ected  to  various  limitations.  He  is  limited 
>y  the  peculiarities  of  his  medium  and  the 
naterials  he  works  with.  He  is  limited  by 
economic  stringency  and  social  prejudice, 
rhese  are  time-honored  limitations.  Oddest 
)f  all,  perhaps,  and  most  annoying,  is  the 
imitation  of  the  contemporary  photogra- 
pher by  postal  regulations. 

Our  postal  regulations  are  sometimes 
strange.  Some  of  the  strangest  are  those 
in  the  use  of  the  nude  in  photography. 
Under  them,  a  nude  is  very  apt  to  be 
udged  ipso  facto  obscene — no  matter  what 
ts  aesthetic  worth.  At  the  same  time,  a 
lude  rendered  in  any  other  medium  re- 
ceives the  official  blessing — no  matter  what 
is  aesthetic  worth — because  it  is  "Art." 
\11  of  which  points  to  very  confused  think- 
ng  among  those  who  make  the  rulings. 

For  their  predicament,  the  photogra- 
ahers  themselves  are  not  wholly  without 
jlame.  For,  by  bad  taste,  by  offensive 
iteralness,  by  vulgarity,  and  by  occasional 
lownright  lewdness,  a  few  thoughtless  and 
gnorant    photographers   have   brought  re- 


proach upon  sincere  workers  in  this  deli- 
cate and  difficult  field  of  pictorialism.  But 
to  base  official  rulings  upon  these  offensive 
performances,  and  upon  these  alone,  is  ob- 
viously absurd — just  as  it  would  be  absurd 
to  judge  the  moral  worth  of  English  po- 
etry by  the  specimens  that  sometimes  ap- 
pear on  the  walls  of  public  lavatories. 

The  photography  of  the  nude  must  not 
be  attempted  frivolously,  or  in  any  mood 
of  casual  experimentation.  The  nude  is 
the  most  difficult  of  all  things  to  do  in 
photography.  Despite  all  your  care,  not 
more  than  one  exposure  in  a  thousand 
will  be  worth  saving.  Yet  it  is  a  labor 
worth  while;  for  the  human  body,  rightly 
comprehended,  expresses  the  essence  of 
all  plastic  form,  of  all  beauty. 


Data  on  the  Picture 

Leica  camera,  50  mm  Summitar  lens; 
Agfa  Finegrain  Plenachrome,  without  fil- 
ter; developed  in  DK  20;  printed  on  De- 
fender I  22,  with  Powder  and  Abrasion. 


precision  of  a  musical  composition. 
"Tempo"  is  the  uncompromising  master 
who  remorselessly  dictates  every  device 
and  part  of  montage.  Do  the  years  pass? 
They  fly  like  a  shower  of  leaves!  Does  the 
locale  change?  Before  you  the  world  spins 
to  a  new  continent!  Is  it  spring,  and  does 
"our  hero"  lazily  catch  fish?  It  is  and  he 
does — in  seven  feet!  Tempo — simplicity 
—  mood  -  -  symbolism  —  action  -  -  im- 
pact —  montage! 

Naturally,  for  this  complex  medium, 
new  methods,  new  conceptions  have  been 
imperative.  Gone  quickly  were  the  first 
faltering  steps  of  assembling  cuts  from  the 
production  itself.  At  best  the  message  was 
muddled,  halting  and  of  dubious  value. 
Montage  must  be  made  for  its  own  pur- 
pose, carefully,  exactly. 

Today  a  script  scene  says:  "Montage. 
Purpose:  Boy  and  girl  thrown  more  con- 
stantly together  develop  love  to  the  point 
of  marriage.  Cut  to  ..."  A  large  order! 
A  story  in  itself.  And,  as  is  learned,  the 
picture  is  long  so  it  must  be  told  in  fifty 
feet  of  film.  At  the  beginning  of  this  mon- 
tage a  boy  has  just  met  a  girl.  At  the  end 
of  this  montage  the  audience  must  feel 
that  it  is  high  time  he  slipped  the  ring  on 
the  proper  finger! 

At  Warner  Bros,  the  problem  is  attacked 
in  the  most  advanced  manner.  The  Special 
Effects  department  has  as  one  of  its  busiest 
divisions  the  montage  unit.  This  unit  is  a 
miniature  production  company  in  itself. 
Director  Donald  Siegel  includes  in  his 
crew  his  editor,  James  Leicester;  his  assist- 
ant Fred  Tyler;  prop  man  "Pat"  Patter- 
son. Head  einematographer  Robert  Burks 
has  in  his  crew;  second  man  Archie  Dal- 
zell,  assistant  James  Bell. 

Siegel,  Burks  and  Leicester  form  the 
council  of  war  on  the  planning  of  the  me- 
chanics of  the  montage  "productions." 
When  the  precedure  has  been  set,  these 
scenes  are  released  in  script  form,  budg- 
eted and  scheduled  as  carefully  as  any  part 
of  the  main  picture. 

Of  especial  interest  in  the  shooting  of 
montage  are  the  problems  of  the  cinema- 
tographer. During  the  course  of  one  scene 
he  may  be  faced  with  the  shooting  of  min- 
iatures, projection  process,  split-stages, 
straight  production  sets  and  even  highly 
mechanical  inserts.  Robert  Burks  through 
his  12  years  of  experience  in  all  branches 
(Continued  on  page  13) 


'Citizen  Kane,"  Orson  Welles'  RKO  Production. 


I 


Intkhnationai.  Photographer  for  January,  1941 


Four  Top  Pictures  Off  Stage  Shots 


By  Alexander  Kahle 


Candid  studies  of  Welles  reading  the  script,  study- 
ing the  set-up  and  finally  issuing  instruction  how 
he  wants  a  scene  played.  Stills  hy  Alexander  Kahle. 


International  Photographer  for  January.  1941 


weIIes  AiNd  tNe  cameraman 


Kahle  has  been  a  still  photographer  for  about 
seventeen  years,  and  during  that  time  he  has  con- 
stantly studied  the  art  of  making  stills.  He  has 
advanced  with  the  times  instead  of  standing  still. 
Entirely  unaware  that  we  were  making  notes  dur- 
ing his  conversation,  we  pass  along  some  of  it 
which  we  feel  sure  will  be  of  interest  to  our 
readers. 

"Some  shots  have  no  effect  unless  they  convey 
the  idea  of  the  size  of  the  room.  If  the  room  is 
huge,  that  impression  should  be  found  on  the 
print.    Show  ceilings  whenever  possible. 

"Very  often  straight  shots  are  not  half  as  effec- 
tive as  they  would  have  been  if  shot  at  an  angle. 
When  I  started  at  Fox  six  years  ago  shooting  at 
an  angle  they  feared  the  worst.  Since  that  time 
the  angles  have  found  favor. 

"Take  for  instance  a  drunken  man.  Shot 
straight-on  it  doesn't  convey  nearly  the  idea  that 
it  would  if  shot  at  an  angle.  I  have  observed  in 
some  stills  that  the  drunk  just  looks  as  if  he  were 
in  pain.  Suppose  the  inebriated  one  is  shown 
asleep  at  a  table.  A  straight  shot  would  indicate 
him  merely  sleeping,  but  if  taken  at  an  angle, 
one  is  sure  of  his  condition. 

"I  am  a  firm  believer  whenever  possible  in 
getting  the  camera  low  and  shooting  up.  This 
is  especially  effective  if  the  subject  happens  to 
be  gazing  upward. 

"Before  shooting  I  decide  what  I  want  to 
emphasize  and  then  concentrate  on  doing  just 
that.  Perhaps  it  is  only  a  gesture,  or  a  facial 
expression.  By  placing  my  camera  at  a  low 
angle  it  is  possible  to  make  the  person  to  be 
emphasized  appear  larger  than  the  others.  Some- 
times a  shadow  three  times  as  large  as  the  sub- 
ject will  convey  just  the  desired  effect." 

(EDITORIAL  NOTE.) 


When  I  heard  I  was  to  make  the  stills 
for  Orson  Welles'  first  RKO  picture  the 
assignment  was  more  than  welcome.  I 
had  heard  of  his  plans  to  film  Conrad's 
tropical  tale,  "Heart  of  Darkness"  and  of 
his  theories  for  that  picture  which,  as  you 
will  immediately  see,  were  of  tremendous 
interest  to  any  photographer.  Welles 
wanted  to  make  the  camera  tell  the  story, 
be  the  principal  character,  as  a  matter  of 
fact.  This  presented  highly  fascinating 
technical  problems  to  the  cameramen  and 
it  was  a  disappointment  when  he  was  un- 
able for  various  reasons  to  make  the  film. 

However,  work  on  "Citizen  Kane" 
turned  out  to  be  just  as  interesting,  since 
Welles  and  Gregg  Toland,  his  cameraman, 
are  nothing  if  not  experimental.  The  pic- 
ture represents  to  some  extent,  a  develop- 
ment and  extension  of  the  beautiful  camera 
work  Toland  did  in  "The  Long  Voyage 
Home,"  with  certain  amendments  by 
Welles. 

The  two  saw  eye  to  eye  from  the  first 
and  the  initial  days  of  shooting  represented 
a  series  of  experiments.  Welles,  for  in- 
stance, put  ceilings  on  every  set,  had  the 


By  Alexander  Kahle 

characters  occasionally  look  right  into  the 
camera  and  generally  violated  all  the 
cliches  of  Hollywood  photography.  The 
ceilings  on  the  sets  aided  the  intensity  of 
the  scenes  enormusly  and,  combined  with 
Welles'  and  Toland's  penchant  for  a  very 
tight  composition,  resulted  in  the  use  of 
the  camera  as  an  adjunct  to  the  creation 
of  mood  and  feeling.  Not  just  the  recorder 
of  events. 

But  the  biggest  and  most  startling  thing 
about  the  photography  is  the  use  of  the 
new  coated  lenses  and  an  effort,  com- 
pletely successful,  to  keep  the  whole  area 
of  the  screen  in  sharp  focus  at  all  times. 
There  are  no  blurred  foregrounds  or  back- 
grounds and  some  of  the  shots  traversed 
two  full  sound  stages,  about  two  hundred 
feet  from  lenses  to  back  of  the  set. 

The  tremendous  depth  of  field,  the  ceil- 
ings and  the  general  effort  to  make  the 
settings  look  completely  natural,  (great 
attention  paid  to  shadow  detail )  made 
necessary  a  new  attitude  toward  lighting. 
It  is  too  common  for  Hollywood  product 
to  look  completely  washed  out,  with  every- 
thing having  equal  values  in  the  lighting. 
It  is  not  noticed  particularly  but  that  is 
because  the  audiences  have  become  so  used 
to  it  that  it  has  become  a  convention.  Like 
the  two  dimensional  screen.  The  Welles- 
Toland  lighting  is  as  near  to  three  dimen- 
sion photography  as  you  can  come  with 
the  materials  at  hand. 

The  particular  virtues  of  the  sharp  focus 
and  naturalistic  lighting  are  that  they  will 
not  be  noticed  at  all  by  the  non-camera 
minded  audience.  They  will  do  their  work 
as  an  aid  to  photography  without  making 
themselves  apparent.  The  sharp  focus,  of 
course,  puts  a  new  responsibility  on  every- 
one concerned  with  the  scresn.  You  can- 
not just  go  out  and  shoot  the  usual  script 
with  the  Welles-Toland  method.  The  script 
must  be  written  with  the  process  in  mind 
and  the  director  must  make  the  actors  com- 
port themselves  with  the  thought  that  now 
the  film  audience  will  have  the  same  priv- 
ilege of  looking  at  any  part  of  the  screen, 
as  in  the  theater  where  if  the  leading  man 
is  a  bore  you  can  watch  the  pretty  maid 
in  the  background.  This  is  not  to  indicate 
that  the  closeup  has  been  done  away  with. 


CAMERA      CATCHES 
WELLES    IN    ACTION: 

Directing,     Awaiting     the 
Action,  on  Snow  Set. 


Welles  has  simply  added  one  more  thing 
to  the  art.  He  uses  every  trick  in  the  hag. 
There  is  a  good  deal  of  special  effect  work, 
by  Vern  Walker  and  his  crew  and  it  should 
be  stated  that  Toland's  veteran  crew  ( the) 
have  been  with  him  for  years)  were  able 
to  get  what  he  wanted  with  a  minimum  of 
time.  The  camera  operator  was  Bert  Ship- 
man:  assistant  cameramen.  Eddie  Garvin 
and  Ledge  Haddock:  head  electrician, 
W.  T.  McClellan:  the  grip.  Ralph  Hogge. 

"Citizen  Kane"  was  more  than  a  pleas- 
ure to  shoot.  In  the  first  place,  of  course, 
there  was  Welles,  who  is  an  enormously 
engaging  and  cooperative  subject.  He  never 
let  down  for  a  minute  and  was  practically 
always  doing  something  worth  a  picture. 
Then  the  story  of  "Citizen  Kane."  with  its 
110  settings,  lasting  through  one  man's 
lifetime,  presented  endless  backgrounds 
for  stills.  Welles,  who  carried  his  charac- 
ter from  the  age  of  twenty-five  to  seventy- 
five,  wore  a  series  of  amazing  costumes. 
His  face  and  figure,  also  altered,  and  he 
never  looked  the  same  from  day  to  day. 
It  got  so  after  a  while  that  he  wouldn't 
get  past  the  gate  man  on  his  own  face. 

"Citizen  Kane"  is  the  story  of  a  million- 
aire whose  ambition  wrecks  his  life.  As  a 
young  man  he  buys  a  New  York  news- 
paper and  marries  a  prominent  young 
debutante.  He  runs  for  governor  and  his 
wife  leaves  him  when  a  political  opponent 
exposes  the  fact  that  he  is  living  with 
another  woman. 

Defeated,  but  not  broken,  Kane  marries 
his  mistress,  |  and  though  she  has  small 
talent  he  decides  to  train  her  so  she  will 
become  a  famous  singer.  He  goes  so  far 
as  to  build  an  opera  house  for  her. 

Her  debut  as  a  singer  is  a  rank  failure 
and  the  newspaper  critics  do  not  soften 
the  blow  in  their  columns. 

Despite  the  tremendous  home  and  lux- 
uries he  has  bestowed  upon  her.  his  lack 
of  love  and  understanding  have  made  her 
unhappy  and  she  leaves  him — alone,  with 
all   ambitions  shattered. 


Bombs  Destroy  Camera  Eqpt. 

German  bombs  dropped  recently  around 
a  20th  Century  Fox  film  crew  working  in 
Wales,  Director  William  Wyler  learned 
today  in  a  cable  from  Frances  T.  Harley, 
studio   production    chieftain   in   London. 

The  crew  was  filming  background  shots 
at  the  time  for  Darryl  F.  Zanuck's  produc- 
tion of  "How  Green  Was  My  Valley,"  the 
Richard  Llewellvn  best  seller  about  the 
Welsh  coal  mines. 

The  cameramen  took  to  cover  at  the  lust 
air  raid  alarm.  When  they  returned  after 
tin-  all  clear  signal,  they  found  their 
equipment  destroyed. 

Harley  advised  the  studio  thai  the  cam- 
eramen  would  continue  working  in  Wales 
for  the  next  four  weeks  in  spite  of  the 
dangers. 


CO'OpERATJVE  RESEARCh 

LAboRATORy  Needed 


"There  is  an  urgent  need  for  an  experi- 
mental studio  or  laboratory,  co-operatively 
owned  by  all  the  producing  companies, 
where  special  effects  men  could  work  and 
try  out  in  advance  new  devices  and  ideas 
in  their  highly  specialized  field." 

This  is  Larry  Butler's  conclusion  after  a 
lifetime  in  the  business.  His  views  on  the 
problems  of  the  trick  and  special  effects 
man  are  simple  and  to  the  point. 

"It  is  unfair  to  expect  a  producer  to  be 
more  than  ordinarily  sympathetic  to  the 
problems  of  special  effects.  Most  of  the 
time,  experiments  have  to  be  made  at  the 
producer's  risk. 

"This  is  why  I  feel  there  would  be  so 
much  time  and  money  saved  bv  having  this 
sort  of  research  lab  where  we  could  con- 
duct experiments  in  printing  and  develop- 
ing between  pictures.  Where  we  could  ex- 
change ideas  for  the  good  of  the  business. 
Where  we  could  try  out  innovations  with- 
out the  risk  of  holding  up  production." 

After  five  years  in  England  working  at 
thQ  Denham  Studios  of  London  Films  for 
Alexander  Korda,  Larry  Butler  returned  to 
Hollywood,  where  he  is  now  working  stren- 
uously on  the  unusually  large  number  of 
special  effects  required  for  "Lady  Hamil- 
ton." His  first  job  here  was  to  complete 
work  already  started  in  London  on  "The 
Thief  of  Bagdad."  This  picture  was  in 
the  nature  of  a  Roman  holiday  for  a  spe- 
cial effects  expert. 

The  flying  horse,  the  magic  carpet,  the 
spider  and  his  web,  the  Genii  and  his 
materialization    from   thin    air.   the   world- 


wide soaring  of  the  Genii,  a  score  of  other 
minor  effects,  and  all  in  Technicolor,  with 
most  of  the  job  done  in  war-time — well. 
Larry  was  surely  glad  to  get  back  to  the 
peace  and  calm   of  Hollywood   last  June. 

He  sums  up  this  "Thief  of  Bagdad"  as- 
signment as  chiefly  "making,  or  trying  to 
make,  traveling  mattes  work."  Larry  is  a 
firm  believer  in  this  technique. 

"There  are  only  two  ways  of  handling 
film  for  special  effects.  Double  printing  or 
double  exposing.  It  seems  to  me  that  trav- 
eling mattes  have  been  too  long  neglected. 

"I  had  a  good  chance  of  seeing  whether 
I  was  reasonably  right  in  this  assumption 
on  'The  Thief  of  Bagdad'  job.  Time  was 
always  an  element.  So  decisions  had  to  be 
made  quickly  and  the  results  had  to  prove 
the  experiment." 

There  is  no  office  marked  "Lawrence 
Butler"  at  the  Korda  studios,  although 
they  tried  their  best  to  furnish  him  with 
one.  He  can  usuallv  be  found  anywhere 
between  the  prop  department,  the  lab,  this, 
miniature  stage,  the  process  department 
and  the  tank. 

When  he  was  in  London,  he  inherited  a 
5ne  suite  of  offices,  complete  with  leather  - 
covered  chairs,  a  battery  of  telephones,  a 
swell  mahogany  desk,  and  a  good-looking 
secretary.  He  never  used  any  of  them. 
There  was  too  much  to  do,  working  with 
eager  but  plodding  mechanics,  technicians 
earnest  and  ambitious  but  in  many  cases 
inexperienced  compared  to  the  Hollywood 
men. 

Thoughtfully    he    says,    "Five    years    in 


« 


Traveling  matte  set-up. 
International  Photographer  for  January,  1941 


England  taught  me  tolerance  and  patience 
— that  the  other  guy  often  has  an  angle 
and  often  is  right.  And  that  being  right 
or  wrong  is  in  many  cases  just  a  matter 
of  the  point  of  view. 

"You  see,  there  are  not  the  number  of 
skilled  studio  mechanics  and  expert  studio 
technicians  in  the  English  studios  as  com- 
pared with  Hollywood.  But  they  are  eager. 
They  work  their  heads  off  to  get  a  thing 
done.  They  are  enthusiastic  and  they  put 
everything  they've  got  into  helping  you. 
Of  course,  there  is  afternoon  tea  and  other 
old  British  customs  and  the  weather  often 
drives  you  nuts.  When  you  pray  for  an 
hour  of  sunshine  and  all  you  get  is  rain, 
rain,  rain,  or  days  of  fog  and  skies  of 
heavy,  gloomy  clouds. 

"The  machine  shops  at  Denham  were 
swell.  Those  chaps  were  fine  craftsmen 
and  wonderful  machinists.  In  converting 
optical  printers,  used  for  black  and  white 
work,  to  color,  we  had  to  develop  a  lot  of 
gadgets  and  many  problems  had  to  be 
overcome. 

"I  think  the  most  difficult  re-adjustment 
to  be  made  while  working  in  England  is 
to  realize  that  you  are  in  a  different  coun- 
try, yes,  in  a  foreign  country,  where  cus- 
toms and  manners  and  ideas  are  different 
than  your  own. 

"Because  the  language  presents  no  dif- 
ference, you  are  inclined  to  expect  the  same 
reactions  as  you  would  get  at  home  or  in 
Hollywood.  And  you  get  a  lot  of  dis- 
appointments. So  there  has  to  be  give  and 
take,  adaptability  all  around,  and  you  have 
just  got  to  be  patient  and  tolerant.  There 
are  two  men  I  think  the  world  of,  Vincent 
Korda  and  Bill  Menzies.  They  are  wonder- 
ful, tops  to  work  with.  And  I  could  never 
have  a  better  boss  than  Alexander  Korda. 
They  made  my  job  at  Denham  smoother. 
Alex  Korda  has  a  complete  understanding 


and  appreciation  of  the  problems  of  spe- 
cial effects.  His  encouragement  means 
everything  in  getting  a  job  successfully 
completed." 

Larry  is  very  emphatic  that  no  trick  de- 
partment is  better  than  the  art  director  who 
conceives  the  ideas. 

Special  effects  can  take  those  ideas  and 
get  them  on  the  screen.  If  the  art  director 
is  "trick  minded,"  has  imagination  and 
vision,  the  job  of  the  special  effects  depart- 
ment is  so  much  easier.  Vincent  Korda, 
Larry  maintains,  has  that  kind  of  mind. 
Nothing  is  impossible,  if  you  have  the 
time,  the  men,  and  the  machines  to  do 
the  job. 

Machines  and  machine  shops  have  al- 
ways been  important  to  Larry  Butler.  Com- 
ing to  Burbank  as  a  kid  from  Ohio,  he 
went  to  Burbank  High  and  was  flunked 
out  because  he  spent  all  his  time  at  the 
school  machine  shop  instead  of  at  his 
studies.  His  teacher  at  this  shop  was  one 
Ernzer,  a  man  who  loved  his  work,  and 
tried  to  teach  young  Larry  everything  he 
knew.  He  had  a  lot  to  do  with  his  pupils 
viewpoints. 

He  gave  the  young  hopeful  every  en- 
couragement with  the  result  that  Larry  got 
his  first  job  with  DeMille,  casting  dishes 
for  the  Last  Supper  in  C.  B.'s  "King  of 
Kings." 

While  working  on  "Hell's  Angels,"  he 
got  his  first  training  on  miniatures  with 
Roy  Davidson.  Then  on  Frank  Capra's 
"Dirigible,"  he  learned  his  job  thoroughly 
from  Ned  Mann.  From  each  expert,  he 
added  to  his  knowledge  of  his  job. 

He  joined  Ned  Mann  as  first  assistant 
when  Ned  went  to  London,  and  their  first 
challenge  was  "Things  to  Come,"  one  of 
the  biggest  jobs  ever  tackled  by  special 
effects  and  trick  departments. 

When  Ned  Mann  returned  to  Hollywood 


two  years  ago,  Larry  stayed  on  to  head 
the  department  until  last  June.  This  young 
wizard  has  a  simple  philosophy  regarding 
his  job.  "Once  in  a  while  you  can  pull  a 
shot  out  of  the  bag,  for  buttons.  Generally 
every  shot  has  its  price  tag." 

He  insists  that  the  use  of  traveling  mattes 
must  be  developed.  "The  Thief  of  Bag- 
dad" proves  their  practicability.  A  differ- 
ently designed  printer  and  more  control  in 
developing  are  needed.  Processing  and  de- 
veloping of  film  have  not  kept  pace  with 
the  industry's  needs,  he  feels.  Each  optical 
department  should  have  its  own  developing 
and  printing  lab. 

Too  much  experimental  work  has  to  be 
done  right  on  the  job.  Were  there  an  ex- 
perimental or  research  lab  available  to  the 
industry's  special  effects  workers,  time  and 
money  could  be  saved.  Ideas  could  be 
pooled  for  the  good  of  the  business.  There 
are  few  trade  secrets  today.  More  impor- 
tant is  cooperation.  A  new  technique  of 
developing  is  needed,  Larry  thinks. 

"I  am  not  criticizing  the  lab  work.  It 
is  excellent.  But  for  traveling  mattes, 
there  have  to  be  improvements.  Perhaps  by 
using  a  new  type  of  developing  machine 
whereby  the  developer,  fixer  and  washer 
are  applied  to  the  film  instead  of  the  film 
to  them.  Perhaps  loop  machines  may  go 
into  disuse.  A  system  of  constant  and  con- 
trolled agitation  in  a  drum  type  of  ma- 
chine may  solve  the  problem. 

"Image  size  and  position  can  be  changed 
in  development.  Film,  as  you  know,  can 
be  exposed  more  accurately  than  you  can 
develop  it.  Then  the  improvements  must 
come  in  the  technique  of  development." 

The  problems  he  has  encountered  in 
"Lady  Hamilton"  confirm  this.  .  .  .  Some- 
day there  will  be  that  experimental  and 
research  lab  and  then  we  shall  see. 


Views  of  optical  and  projection  printer. 


^Jechnlcolop 

^_Xs    /  road   of    Jst$    Contribution    to 
^hrotluwood  5     Current   and 
Comina    ^Jop    J  roductii 


ions 


^Tioma  of  the  S^outh   S5ea5 
(J->eiie  ^tarr 

M9  iL  JdJ 

(J— titter  S^weet 

(J->looa   ana   ^>ana 

Blood  Witt  Veil 

d5lo55oni3  Jsn   the   aLjust 

L^haa  ^rranna 

&Down   ^rraentine     l/Uau 

^jrantadia 

fjortl,    West   WountejPoL 

Reap  t/,e    WfJ   Wind 

i^oaa   to   rCio 

S^hephera   of-  the  ^rrillS 

^Jhc   f\eluctant   <^Draaon 

^Jhe   ^Jhief  of   (J3aaaaa 

^Jh  e     Ljearlin  a 

Vu 


'irainia 
We  5  tern     Ujn  i 


on 


^Jechnicolor     / / lotion    J   icture    Corporation 

^rrerhert   ^J.   ^J\almuS,  /resident 

JO  International  Photographer  for  January,  1941 


fOLR  yEARS  JN  AN  ICE  hpUSE 


With  the  inception  nearly  four  years  ago 
of  Hollywood's  "Low  Temperature  Sound 
Stage,"  California  Consumers  Corporation, 
in  keeping  pace  with  the  studios'  demands, 
has  made  consistent  improvements  both  in 
design  and  quantity  of  equipment  for  use 
in  studio  snow  scenes. 

Expanding  the  number  of  complete 
snow  machine  units  from  a  beginning  of 
one  unit,  California  Consumers  Corpora- 
tion now  has  available  on  short  notice 
seven  units  that  can  be  brought  into  use 
at  one  time.  Six  of  these  snow  machines 
are  electrically  driven;  one  is  operated  by 
a  gasoline  power  unit. 

The  introduction  of  Technicolor  pic- 
tures to  the  Ice  House  created  an  immedi- 
ate need  for  greatly  increased  refrigera- 
tion capacity.  Wholehearted  acceptance 
of  the  Ice  House  by  the  studios   brought 


about  larger  sets  which  in  themselves  re- 
quired increased  capacity  in  refrigeration 
equipment.  Modification  of  the  Ice  House, 
interior  and  exterior,  was  continually  un- 
der way,  in  addition  to  the  usual  normal 
maintenance  work  that  was  continued,  even 
during  the  periods  the  stage  was  unoc- 
cupied. 

During  its  brief  period  of  operation,  the 
Ice  House  or  equipment  has  been  used  in 
nearly  all  pictures  that  have  elaborate 
snow  scenes,  and  hundreds  of  studio  tech- 
nicians have  shivered  in  its  arctic  temper- 
atures that  are  controlled  at  will. 

In  the  studios'  use  of  the  Ice  House, 
many  of  the  technicians  and  members  of 
the  cast  have  been  guests  of  the  Los  An- 
geles Ic3  and  Cold  Storage  division 
(across  the  street  from  the  Stage),  visit- 
ing   the    sub-zero    freezing;    rooms    where 


hundreds  of  tons  of  frozen  fish,  armored 
with  a  coating  of  ice,  are  stacked  like  cord- 
wood. 

With  the  introduction  to  the  Ice  House 
of  Paramount's  Technicolor  production 
"Untamed"  many  changes  were  necessi- 
tated due  to  the  enormous  increase  of  car- 
bon arc  illumination  required  for  Techni- 
color work.  In  close  cooperation  with 
Paramount's  Technical  Engineer,  Mr.  A.  C. 
Zoulis,  the  Engineering  Department  of  the 
California  Consumers  Corporation  finally 
arrived  at  the  conclusion  that  nearly  650 
tons  of  refrigeration  would  be  required  to 
offset  the  lamp  load  of  approximately 
17,000  amperes.  These  650  tons  of  refrig- 
eration were  needed  to  chill  approximately 
65,000  cubic  feet  per  minute  of  fresh  air 
required  to  replace  the  foul  air  contam- 
( Continued  on  page  26) 


Forming  an  iceberg  in  studios  with    the    use    of    real    snow. 


11 


at 


ARMYt^ 


SERVICE 


OUR  ARMY  OF  TECHNICIANS  IS  ALWAYS  READY  TO  CARRY 
OUT  YOUR  ORDERS  IN  EVERY  DIVISION  OF  OUR  INDUSTRY 

*  *  *  35MM    *  *  *    16  MM   *** 

NEGATIVE  DEVELOPING  *   DAILIES  *   RELEASE  PRINTS 
TITLES  *    OPTICAL  EFFECTS  *    INSERTS 
BLACK  AND  WHITE  and  THE  NEW  MAGNACOLOR 


FILI11  lilDUSTRIES,  II1C. 

NEW  YORK  1      HOLLYWOOD 


New  Kalart  Factory 

The  Kalart  Company  announces  the 
opening  of  their  new  factory  at  114  Man- 
hattan St.,  Stamford,  Connecticut.  The 
general  sales  office  continues  in  New  York. 


Repairs,  installation  and  service  will  be 
handled  at  Stamford  and  should  be  sent 
there.  In  the  near  future  service  and  in- 
stallation for  metropolitan  dealers  will  be 
provided  in  New  York  also. 


for  SPEED  GRAPHIC 
OWNERS  only! 

supe1T 
speedflash  shots 

Are  Easy  With 

SISTOCUN! 

Here's  an  instrument  designed  by  news  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3V4  *  4l/(  and  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at   1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  for  those  who  want  real 
action  FLASH  PICTURES— at  SUPER  SPEEDS! 
Price   $12.00. 

THE  KALART  COMPANY  INC. 


/>«•/»».  /-i 


619    TAFT    BLDC. 


HOLLYWOOD,  CALIF. 


KALART 


12 


Intkknational  Photographer  for  January,  1941 


MONTAqE 


f 


(Continued  from  page  3) 

of  Special  Effects  work  is  peculiarly  and 
happily  fitted  to  cope  with  all  of  the  con- 
stantly arising  problems  of  novel  effects 
and  scenes.  His  crew  with  Dalzell  and 
Bell  have  been  assigned  to  him  for  like 
reasons  of  greatly  varied  experience. 

Director  Siegel  and  Cinematographer 
Burks  like  to  point  with  satisfaction  to 
ringing  the  bell  successfully  in  such  pic- 
tures for  Warner  Bros,  as:  "All  This  and 
Heaven  Too,"  '"Dr.  Ehrlich's  Magic  Bul- 
let," "The  Fighting  69th,"  "My  Love  Came 
Back,"  "Sea  Hawk,"  "They  Drive  Bv 
Night,"   "Til  We  Meet   Again"   and  "The 


Lady  with  Red  Hair."  Part  of  their  satis- 
faction which  is  particularly  gratifying  is 
the  fact  that  their  technique  has  been 
clever  enough  to  conceal  to  any  but  the 
initiated  that  in  these  pictures  there  is  any 
such  thing  as  a  montage! 


Watson  Booklet 

Burke  &  James  announce  that  the  new 
Watson  Booklet,  just  off  the  press,  is  avail- 
able free  to  readers  of  International  Pho- 
tographer. Address  Burke  &  James,  223 
W.  Madison  St.,  Chicago. 


RETRACTION 

•  In  the  last  issue  of  International 
Photographer  an  article  headed  "Special 
Effects  at  R.K.O."  should  have  been  headed 
"Cosgrove  Special  Effects  Department  of 
David  0.  Selznick  Productions." 

This  department,  under  the  technical 
supervision  of  Clarence  Slifer,  has  been 
responsible  for  all  of  the  fine  Technicolor 
and  black  and  white  special  effects  on  pro- 
ductions, "Gone  with  the  Wind,"  "Rebec- 
ca," "A  Star  is  Born,"  "Garden  of  Allah. 
"Tom  Sawyer,"  "Prisoner  of  Zenda,"  etc. 

Much  of  the  equipment  developed  for 
these  productions  has  been  accepted  by 
many  of  the  various  studios.  At  the  pres- 
ent time  the  department  is  engaged  in  sev- 
eral new  ideas  which  should  revolutionize 
the  Special  Effects  field. 


This  still  by  Elmer  Fryer  shows  the  crew  in  operation  shooting  James  Cagney  in  Warner  Bros.  Pro- 
duction, "Strawberry  Blonde."  Standing,  left  to  right:  Dick  Williams,  sound  man;  "Red"  Breen, 
stand-in;  Robert  Burke,  first  cameraman;  W.  G.  Buster,  grip,  and  James  Cagney.  Seated,  left  to 
right:  Donald  Siegel,  montage  director;  Arch  Dalzell,  operating  cameraman ;  James  Bell,  assistant 
cameraman ;   Pat  Patterson,  prop  man;   Robert  Le?.  Sound  Mixer. 


13 


"I  Wanted  Wings,"  Paramount  Production. 


Showing  the  camel 
formation  of  planei 


14 


By  KEN  LOBBEN 


iv  it  work  as  well  as 
efnited  States  Army. 


15 


5    ' 

**\, 

►'      V 

". 

*J&£ 

.">    **■ 

»      lfc___»  ' 

'      3 

"I  Wanted  Wings".  Willi  the  exception  of  the  lower  left  these  stills  were  made 
by  Tommy  Morris  with  a  Leica  Camera.  Lower  left  showing  Leo  Tover,  first 
cameraman;  Ernie  Laszlo,  second  and  Frank  Burgess,  assistant;  by  Ken  Lobben. 


In 


International  Photographer  for  January.  1941 


ThE  CAMERAMAN  ilN  tNe  MR 


By  Tommy  Morris 


If  anyone  ever  steps  up  and  offers  you  an 
opportunity  to  handle  a  camera  in  an  air 
picture — my  advice,  which  usually  isn't 
worth  much,  is  to  jump  at  the  chance. 

I'm  speaking  from  experience  this  time, 
for  only  recently  I  was  fortunate  enough 
to  be  included  in  the  large  camera  crew 
which  went  to  Texas  to  film  Paramount's 
"I  Wanted  Wings."  It  was  a  lot  of  work, 
of  course,  but  an  experience  and  a  thrill 
that  was  well  worth  having. 

"I  Wanted  Wings''  is  the  story  of  the 
training  of  air  cadets  for  the  American  Air 
Corps.  We  were  quartered  in  San  Antonio, 
for  both  Randolph  and  Kelly  Fields,  the 
primary  and  finishing  instruction  bases,  are 
located  near  that  city. 

Ray  Milland,  Brian  Donlevy,  William 
Holden,  Veronica  Lake,  Constance  Moore 
and  Wayne  Morris  play  the  principal  roles, 
with  Mitchell  Leisen  directing.  In  all, 
there  were  about  140  persons  in  the  troupe. 

We  had  our  headquarters  in  the  St.  An- 
thony Hotel,  and  had  excellent  accommo- 
dations and  meals.  The  entire  location  was 
handled  perfectly.  A  production  office  was 
set  up  at  the  hotel,  and  all  arrangements 
were  conducted  in  the  same  manner  as  they 
are  at  the  studio.  Whenever  we  wanted 
anything,  or  needed  something  done,  we 
merely  called  this  production  office,  in- 
stead of  trying  to  locate  a  business  man- 
ager or  assistant  director.  It  saved  time 
for  everyone. 

Our  camera  crew  was  an  extensive  one, 
with  plenty  of  work  for  everyone  con- 
cerned. The  first  unit  was  headed  by  Leo 
Tover,  with  Ernie  Laszlo,  Otto  Pierce, 
Frank  Burgess,  Byron  Seawright  and 
Charles  Russell.  Loyal  Griggs  was  in 
charge  of  the  second  unit  and  transparency 
backgrounds,  aided  by  Arthur  Lane,  James 
Grant  and  S.  A.  Sanford.  The  air  crew 
consisted  of  Elmer  Dyer  and  myself,  ably 
piloted  by  Paul  Mantz,  the  noted  flier. 
Kenny  Lobben  and  Don  English  made  up 
the  still  crew. 

An  air  picture  naturally  takes  more 
equipment  and  planning  than  is  normally 
used — much  more  than  one  would  think. 
We  had  three  special  camera  planes,  for 
example,  and  two  air  cameras. 

One  plane  was  a  fast  little  Boeing,  on 
which  we  fastened  a  stationary  camera, 
either  on  a  wing  or  in  the  landing  gear. 
Paul  lined  his  windshield  up  as  a  finder, 
and  operated  the  camera  from  a  switch 
in  the  cockpit. 


He  was  welcome  to  those  shots,  by  the 
way,  for  they  were  all  fast  dives,  follow 
shots  and  forced  landings. 

The  other  two  planes  were  a  high-wing 
Vega  for  side  and  down  angles,  and  a  low- 
wing  Orion  for  shooting  up  at  formations 
from  underneath. 

The  Vega  was  used  most,  as  the  majority 
of  the  shots  we  made  were  down  or  at  an 
angle  out  the  side.  Mantz  built  a  sliding 
camera  mount  which  fitted  in  the  doorway. 
By  moving  it  out  we  were  able  to  shoot 
nearly  straight  forward  or  backward.  To 
reload  all  we  had  to  do  was  to  slide  the 
camera  into  the  cabin,  out  of  the  slip 
stream.  The  force  of  the  slip  stream,  at 
250  miles  an  hour,  is  tremendous.  It  is 
so  strong  that  it  can  break  a  man's  arm 
should  he  be  so  incautious  as  to  suddenly 
thrust  an  arm  into  the  open  air. 

On  some  days  we  went  on  four  hour 
flights,  and  would  reload  six  or  eight 
times  in  the  air.  The  sliding  mount  proved 
itself  of  immeasurable  value  in  this  point 
alone.  But  we  did  discover  we  should  be 
careful.  One  day  we  forgot  to  lock  the 
mount,  and  when  Paul  went  into  a  steep 
bank,  the  camera  slid  out  to  the  end  of  the 
track  and  nearly  took  Elmer  with  it. 

As  mentioned,  we  used  two  cameras  on 
the  job.  One  was  Dyer's  Akeley,  for  fast- 
panning  action  shots,  and  the  other  his 
special  rack-over  Bell  &  Howell  for  plates. 

I'd  like  to  say  right  here  that  a  lot  of 
credit  should  go  to  Paul  Mantz.  What  a 
flier  he  is!  I'd  be  willing  to  go  up  in  any- 
thing he  could  get  off  the  ground.  We 
had  a  few  trips  in  pretty  rough  weather 
and  wondered  if  the  plane  would  hold  to- 
gether, but  we  always  got  home  all  right. 
Paul  has  a  great  mechanic,  too,  in  Jim 
Barton,  who  always  had  the  planes  in  tip- 
top condition.  In  fact,  his  only  advice  to 
us  was:  "As  long  as  I  stay  in  the  cockpit, 
boys,  you  stick  with  me.  Don't  bail  out 
unless  I  do."  He  never  did — so  we  didn't 
either! 

Elmer  had  a  plenty  tough  job  on  the 
stick  end  of  his  camera  against  that  fast 
air  speed.  It  was  no  fun,  as  he  was  usually 
lying  on  his  stomach  fighting  the  wind  and 
nearly  being  torn  apart  holding  his  cam- 
era in  position. 

My  job  was  to  assist  Elmer  in  the  usual 
work — change  filters,  lenses,  reload,  keep 
records  of  jshots.  In  addition  I  wore  a  re- 
ceiving headset  and  talked  with  Mantz  by 
microphone,  relaying  signals  from  Elmer 
regarding     plane     positions     and     speeds. 


Paul  was  in  radio  contact  with  the  Army 
ships,  so  we  managed  to  get  some  nice 
formation  shots. 

The  biggest  thrill  to  me  was  hedge- 
hopping  about  ten  feet  off  the  ground, 
just  skimnmg  trees,  barns,  houses  and 
fences.  One  day  Mantz  phoned  back  to  us 
and  said  to  look  out  the  windows  and  hold 
our  hats.  We  did — and  he  promptly  flew 
right  between  two  huge  oak  trees,  sliding 
underneath  the  lowest  branches  by  inches. 

Our  greatest  inconvenience  was  temper- 
ature. It  usually  was  about  100  degrees 
or  more  on  the  ground,  and  30  degrees 
(two  below  freezing)  at  16,000  feet.  We 
had  to  put  on  coveralls  and  jackets  before 
each  flight  and  got  awfully  hot  if  we  didn't 
go  up  right  away.  Five  minutes  later  we'd 
be  in  freezing  temperatures.  Sometimes 
we  had  to  drop  down  to  around  6000  feet, 
thaw  out,  then  go  back  up  again.  One 
morning  I  got  my  face  terribly  sun  and 
wind-burned,  went  aloft  in  the  afternoon 
and  got  it  frozen.  The  skin  didn't  peel  off 
— it  came  off  in  chunks. 

Flying  with  the  Army  planes  was  a  great 
thrill.  We  dodged  in  and  out  of  forma- 
tions and  covered  all  angles.  For  most 
shots  we  used  either  18  or  36  ships  because 
that  number  was  enough  to  fill  the  screen 
for  comparatively  close  shots.  Our  biggest 
day  was  a  graduation  of  cadets  from  Kelly 
field,  and  we  flew  with  96  beautiful  silver 
pursuit   type   of   planes. 

The  young  men  the  army  is  training 
for  air  work  are  really  magnificent. 
They're  100  per  cent  in  physique,  mental- 
ity and  personality.  They  first  get  a  four- 
week  course  in  basic  flying.  They  then  are 
graduated,  and  move  to  Kelly  field  and  are 
instructed  in  the  use  of  a  faster  and  better 
type  of  plane.  After  Kelly,  the  boys  be- 
come officers  and  either  go  into  the  service 
or  become  instructors  at  the  various  C.A.A. 
fields  throughout  the  country. 

From  now  on  I'll  never  begrudge  a 
single  cent  of  taxes  that  goes  towards  this 
preparedness  work.  Just  the  sight  of  that 
graduation  at  Kelly  Field  was  worth  the 
price! 

For  myself,  I'm  sorry  I  couldn't  have 
gotten  more  Leica  shots  of  my  own.  Usu- 
ally I  was  too  busy  with  pencil  and  tele- 
phone, but  I  did  manage  to  get  a  few. 
Those  silver  ships  from  Kelly,  and  the 
dark  blue  and  yellow  ones  from  Randolph 
are  great  subjects. 

Come  to  think  of  it,  I  wouldn't  mind 
winning  my  wings  myself. 


17 


THE  Kodak  photographic  paper  mill  —  only 
one  in  the  western  hemisphere  —  turns  out 
more  than  a  hundred  different  brands  of  paper, 
all  noted  for  their  quality,  uniformity,  and  ease 
of  manipulation.  And,  counting  various  sizes, 
colors,  weights,  contrasts,  and  surfaces,  Kodak 
is  ready  on  short  notice  to  ship  any  one  of  more 
than  60, 000  paper  items. 

In  this  vast  variety  of  products  you  are  sure  to 
find  the  right  types  of  fine  papers  for  all  your 
needs.  Among  the  most  widely  used  are  VITAVA 


PROJECTION — a  fast  enlarging  medium,  par- 
ticularly valuable  for  exhibition  prints;  VITAVA 
OPAL  —  a  warm-toned  material  suitable  for  both 
enlarging  and  contact  printing;  KODALURE — 
for  prints  of  exceptional,  warm  quality  and  depth 
from  negatives  of  average  contrast. 

For  complete  data  on  the  characteristics,  pur- 
poses, and  manipulation  of  the  papers  men- 
tioned and  others,  write  for  the  48-page  book- 
let, Eastman  Photographic  Papers  (price,  1  5  cents). 
It's  a  dependable  guide  to  best  results. 


EASTMAN   KODAK   COMPANY,   Rochester,  N.  Y. 


la 


International  Photograph kk  for  January,  1941 


JHB 


Shooting  backgrounds  at  World's  Fair  for  "Mr.  and  Mrs.  Smith,"  Alfred  Hitchcock's  new  RKO  picture.  In  the  back  seat  are  George 
Hcnners,  first  cameraman ;  Bill  Anzel,  assistant  (both  of  New  York  Local  644),  and  Vernon  Walker,  Process  Department,  RKO,  Holly- 
wood. Owing  to  the  narrow  space  between  posts  along  the  walks,  a     Crosley  car  was  used  as  camera  car. 

19 


Camera  crew  on  Columbia's  "Penny 
Serenade."  Reading  left  to  right: 
Victor  Seheurich,  Jack  Young,  Tom 
Jackson,  Lee  Davis,  Buddy  Harris, 
Emil  Oster  (head  of  camera  de- 
partment). Bill  Jolley,  Joe  Walker, 
Fayte  Brown,  George  Keller,  Roy 
Babbitt,  Bob  Wasserman,  Jack  Rus- 
sell. James  Goss;  sitting  in  the  fore- 
ground (holding  hat)  is  Sam  Rosen, 
author  of  the  article  on  facing  page, 
and  George  Stevens,  director.  Still 
by  Irving  Lippman. 


Scene  after  the  "earthquake. 


20 


Intkrnationai.  Photographer  for  January,  194] 


coluivibiAs  quaIie  shakes  eiqkr 


By  Sam  Rosen 


Apparently  Hollywood  can  never  be  sat- 
isfied. 

It  is  a  matter  of  record,  if  the  seismo- 
graph at  the  California  Institute  of  Tech- 
nology is  to  be  believed,  that  Southern  Cali- 
fornia receives  its  shares  of  earthquake 
shocks. 

But  what  did  Hollywood  do?  It  created 
its  own  earthquake  for  a  breathless  minute 
in  a  motion  picture  and  one  so  violent  that 
even  Dame  Nature  must  have  blushed  with 
envy. 

Although  the  movie  quake  lasted  for  less 
than  two  minutes  it  was  in  the  making  for 
three  weeks.  It  provides  the  dramatic  mo- 
ment in  Columbia's  "Penny  Serenade" 
when,  in  Tokyo,  Cary  Grant  and  Irene 
Dunne  are  planning  the  future  of  their 
unborn  heir.  But  an  earthquake  strikes; 
Miss  Dunne  is  crushed  beneath  the  debris 
and  the  expected  child  never  arrives. 

George  Stevens,  the  producer-director, 
wanted  his  earthquake  to  be  the  most  real- 
istic one  ever  filmed.  For  it,  Columbia's 
Stage  Eight,  one  of  the  largest,  was  con- 
verted into  a  Tokyo  scene.  Built  entirely 
on  movable  stages,  on  iron  wheels  and 
steel  rails,  a  two-story  Japanese  pavilion, 
completely  furnished  upstairs  and  down, 
filled  the  foreground. 

Beyond,  through  wide  glass  doors,  were 
spacious  Japanese  gardens  with  rock  foun- 
tain, bridged  flowing  brook  and  flower 
beds.  Beyond  the  garden  and  the  tall  bam- 
boo fence  and  ornate  gate  was  a  full  sized 
Tokyo  street  with  buildings  built  to  per- 
spective and  the  Tokyo  skyline  in  the  dis- 
tance. 

Daily,  for  a  week,  technicians  tested  the 
earthquake  set.  For  the  actual  filming, 
Stevens  chose  Saturday  night  for  two  rea- 
sons ...  so  that  the  tremendous  racket 
would  not  interrupt  other  companies  at 
work  and  to  avoid  visiting  studio  workers 
on  the  dangerous  set. 

For  five  hours  before  the  quake,  Stevens 
rehearsed,  checked  and  rechecked  his  de- 
struction crews.  Surrounding  him  were 
Joseph  Walker,  head  cameraman,  and  ten 
complete  camera  crews.  The  Operators 
were  George  Kelley,  Victor  Schuerick,  Lee 
Davis,  Dave  Ragin,  Jack  Russell,  Buddy 
Harris,  Fayte  Brown,  Guy  Wilkev  and 
Jack  Young.  The  Assistant  Cameramen  as- 
signed were  Bill  Jolley,  Sam  Rosen,  Joe 
Citron,  Jimmy  Goss,  Enzo  Martinelli,  Bob 
Wasserman,  Irving  Klein,  Tom  Jackson, 
Roy  Babbitt  and  Jack  Kenny.  Each  camera 
was  focused  on  the  vital  points  of  the 
planned  catastrophe  and  the  camera  mo- 
tors at  various  speeds.    Van  Pelt  operated 


a  motor  driven  Eyemo  for  real  action  stills 
and  Irving  Lippman  shot  the  production 
stills.  Emil  Oster,  head  of  Columbia's  cam- 
era department,  stood  by  to  see  that  all 
cameras  were  mechanically  fit.  On  a  plat- 
form commanding  the  complete  scene,  the 
director  sat  before  an  illuminated  master 
keyboard.  On  the  keyboard  were  twelve 
red  lights  and  electric  switches.  Each  light 
and  switch  controlled  many  stations  stra- 
tegically placed  around  the  set,  where  fifty 
specialized  Special  Effect  men  supervised 
by  Dave  Vail  awaited  Stevens'  red-light 
cues. 

A  final  rehearsal  was  called,  Stevens 
throwing  his  switches.  No.  1  station — 
Steam  hammer  ready;  No.  2  station — 
Steam  winch  ready;  No.  3  station — Water 
gusher  ready;  No.  4  station — Falling  build- 
ing ready;  No.  5  station — Falling  building 
and  overhead  dump  table  ready;  No.  6 
station — Gas  explosion  in  street  ready; 
No.  7  station — Falling  gate  and  garden 
wreckage  ready. 

On  down  the  list,  with  split  second  pre- 
cision, Stevens  called  the  roll  of  his  de- 
stroyers. The  roof  was  ready  to  crash  the 
glass  doors.  A  two-foot  square  beam  was 
poised  to  penetrate  a  wall.  The  second 
floor  was  ready  to  collapse  and  the  stairs 
has  been  prepared  to  crumble. 

"Release  safeties,"  Stevens  called  to  his 
crews. 

"Test  cameras!" 

Briefly,  the  cameras  rolled,  the  experts 
released  the  scores  of  safety  devices  for 
the  falling  debris,  crumbling  walls  and 
floors.  All  persons  except  those  absolutely 
necessary  to  film  the  quake  were  ordered 
from  the  stage.    The  cameras  and  camera- 


men were  protected  beneath  a  heavy  wood- 
en canopy. 

Cameras  were  rolling  for  the  take  and 
chaos  struck  savagely.  The  steam  hammer 
pounded  the  two-story  house  back  and 
forth.  The  steam  winch  shook  the  out- 
side gardens  and  the  street  violently.  In  the 
garden  the  rock  fountain  crumbled,  shoot- 
ing a  great  geyser  of  water  over  the  tremb- 
ling set. 

In  the  background,  a  wall  fell  out  of  a 
building,  baring  its  innards,  spraying  it 
with  debris.  Another  building  toppled  .  .  . 
a  cloud  of  dust  arose.  In  the  street,  a  gas 
main  exploded,  ignited  and  shot  huge 
flames  upwards.  The  garden  gate  fell,  the 
roof  of  the  pavilion  plummetted  down, 
shattering  big  window  panes  in  the  house. 

In  the  garden,  Cary  Grant  was  continu- 
ously being  thrown  off  his  feet.  In  the 
house  a  shrieking  Irene  Dunne  clung  to  the 
palsied  stairs.  The  garden  gate  collapsed. 
Water  gushed  from  the  garden  brook.  A 
huge  beam  was  shot  through  the  wooden 
wall.  The  ceiling  collapsed  and  the  two 
rooms  of  furniture  shot  downward.  In 
the  immediate  foreground,  a  great  mass  of 
broken  timber,  balsa  wood  and  bricks,  shat- 
tered furniture  and  rubbish  clattered  onto 
the  canopy  over  the  cameras  and  bounced 
off. 

Less  than  two  minutes  later,  a  set  that 
had  taken  three  weeks  to  build  was  com- 
pletely demolished  in  one  "TAKE." 

Director  Stevens  and  Cameraman  Joe 
Walker  started  over  to  the  next  set  for  the 
next  day's  work. 

It  was  just  another  days  work  in  Holly- 
wood. 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 
CAMERA  CRANE 

* 


DAY- 


-PHONES- 


-NIGHT 


Hillside 
8333 


6313  SUNSET  BOULEVARD 

Near  Vine  Street 

HOLLYWOOD,  CALIFORNIA 


HEmpstead 
1311 


21 


l6lVIM.  dEpARTMENT 


While  Thinking  about  Mr.  Unseld's 
article  on  Lens  Perspective  in  this  depart- 
ment last  month,  we  began  wondering 
whether  we  had  not  jumped  a  little  ahead 
of  ourselves.  Frequently,  in  this  and  other 
technical  fields  ,we  are  prone  to  take  many 
basic  established  facts  for  granted  with- 
out understanding  why  they  are  basic  facts, 
and  to  work  on  from  there,  often  achieving 
a  high  degree  of  proficiency  with  a  me- 
dium about  which  we  are  none  too  familiar 
from  the  "why"  standpoint. 

Generally  speaking,  the  amateur  who  is 
seriously  interested  in  cinematography 
thinks  of  his  lens  as  an  integral  and  im- 
portant part  of  his  camera  and  that  is 
either  good,  bad,  or  indifferent,  according 
to  the  price  that  he  was  able  to  pay  for  it 
and  the  job  that  it  has  to  do.  He  devotes 
most  of  his  time  to  doing  those  things. 
However,  there  is  much  to  be  said  in  favor 
of  knowing  why  those  things  that  take 
place  do,  aside  from  the  feeling  of  per- 
sonal satisfaction  that  comes  from  know- 
ing the  subject  thoroughly.  This  can  all 
be  summed  up  in  the  statement  that  this 
knowledge  removes  the  mystery  of  why  any 
particular  shot  was  a  success  or  a  failure 
due  to  optical  reasons. 

This  article  does  not  pretend  to  remove 
all  that  mystery  for  the  obvious  reason 
that  a  subject  of  such  scope  could  not  be 
treated  completely  within  these  limits.  It 
will,  however,  give  a  basic  understanding 
of  the  principles  involved  that  will  form 
a  foundation  for  further  reading. 

Lens  action  is  based  on  the  principle  in 
physics  known  as  refraction.  Reduced  to 
everyday  English,  it  is  the  bending  of  light 
rays.  We  are  all  familiar  with  the  sight  of 
a  spoon  in  a  glass  of  water  or  tea,  where 
the  spoon  appears  to  be  bent  at  the  sur- 
face of  the  liquid.  We  have  watched  an 
object  lying  at  the  bottom  of  a  shallow 
body  of  water  and  seen  it  change  its  shape 
— become  elongated,  shortened,  or  other- 
wise distorted — as  the  ripples  of  water 
flowed  over  it.  And  we  have  watched  the 
"heat-waves"  rising  from  the  surface  of 
the  highway  while  driving  along  and  seen 
the  "ripples"  make  the  distant  objects  ap- 
pear to  be  fluttering  in  the  "waves."  These 
are  all  everyday  instances  of  refraction. 

Refraction  takes  place  when  a  ray  of 
light  passes  through  one  or  more  mediums 
of  varying  density,  or  when  a  medium  of 
a  single  density  varies  in  thickness  and  its 
surface  beemnes  curved.  In  the  case  of  the 
water  and  I  he  spoon,  the  water  is  one  me- 
dium and  air  the  other,  and  obviously, 
they  are  of  two  different  densities;  hence 
we  see  the  rays,  or,  in  this  case,  the  spoon 
bent  at  the  point  where  the  water  or  tea 
meets  the  air — the  surface.  In  the  case  of 
the  object  lying  on  the  bottom  of  the 
stream  with  ripples  flowing  over  it,  the 
object   appears  elongated  or  shortened  by 


the  ripples  because  of  the  curvatures  pre- 
sented by  the  surface  of  the  wave  forms. 

In  the  case  of  the  "heat-waves"  rising 
from  the  surface  of  the  road  distorting 
familiar  objects,  the  air  itself  will  be  the 
only  medium,  but  will  vary  in  density  as 
it  becomes  alternately  hotter  and  cooler 
according  to  the  "waves"  of  heat  coming 
up  from  the  pavement.  Since  hot  air  ex- 
pands and  cool  air  contracts,  and  as  the 
air  expands  it  occupies  more  space  for 
the  same  actual  amount  of  air,  its  density 
will  decrease  when  it  is  heated  and  in- 
crease when  cooled.  It  is  this  continuously 
changing  density  due  to  the  "waves"  of 
heat  that  will  give  the  objects  the  appear- 
ance of  fluttering,  because  the  rays  of 
light  they  are  sending  toward  us  are  being 
bent  by  the  changing  density  of  the  air. 

Basically,  a  lens  works  on  the  same  gen- 
eral principle,  although,  strictly  speaking, 
more  like  the  second  example  given.  Hav- 
ing a  medium  of  constant  density,  glass, 
it  is  the  curvature  that  it  presents  to  a 
medium  of  second  density,  air,  that  brings 
about  the  bending  of  the  rays.  But  here 
is  where  the  similarity  stops,  because  from 
here  on  everything  is  carefully  planned  to 
do  a  specific  job.  Instead  of  the  rays  be- 
ing bent  in  any  which  way  that  nature 
might  find  them,  they  are  bent  according 
to  a  definite  formula,  so  planned  that  they 
will  come  to  a  point,  or  converge,  a  short 
distance  behind  the  lens.  The  rays  of  light 
coming  from  any  ordinary  object  travel  in 
straight  lines — parallel  lines.  The  lens 
bends  these  straight  lines,  brings  them  to  a 
point,  known  as  the  focal  point  (or  just 
plain  focus),  and  the  distance  behind  the 
lens  at  which  these  rays  come  to  the  point 
is  known  as  the  focal  length,  a  very  im- 
portant measurement.  The  point  at  which 
the  rays  come  to  a  focus  is  the  point  at 
which  we  will  see  clearly  projected  on  to 
anything  which  we  may  wish  to  place  in 
this  particular  position  ( film,  ground 
glass,  paper,  etc. ) ,  an  image  of  whatever 
may  happen  to  be  in  front  of  the  lens. 

A  lens  of  the  type  described  is  known 
as  the  simple  meniscus  lens.  It  is  a  single 
piece  of  glass  with  a  convex  curvature  on 
both  sides,  or  a  double  convex  lens,  and 
of  the  type  generally  found  on  box  cam- 
eras, and  is  the  simplest  lens  known.  This 
lens  has  many  defects,  however,  and  is  not 
generally  useful  for  good  photography  be- 
cause of  these  defects,  or  aberrations.  A 
lens  of  the  simple  meniscus  type  will  not 
bring  into  focus  at  the  same  point  on  the 
film  all  objects  which  are  in  a  straight  line 
the  same  distance  away  from  the  lens,  or 
camera.  In  other  words,  if  our  camera 
were  placed  fifteen  feet  away  from  a 
group  of  people  in  a  straight  line,  all  of 
these  people  would  not  be  in  focus  on  the 
film  at  the  same  time,  even  though  they 
are  all  exactly  fifteen  feet  from  the  camera. 


This  defect  is  known  as  spherical  aber- 
ration. Secondly,  lines  that  would  be 
straight  in  the  scene  would  appear  to  be 
curved  on  the  picture  (curvature  of  the 
field ) .  Another  defect  that  would  be  found 
would  be  that  objects  possessing  the  usual 
colors  would  not  have  the  different  colors 
come  to  a  focus  at  the  same  point  on  the 
film — this  defect  is  chromatic  aberration. 
And  still  another  difficulty  would  be  astig- 
matism, or  the  inability  of  the  lens  to 
bring  horizontal  and  vertical  lines  into 
focus  at  the  same  time. 

To  correct  these  difficulties  the  modern 
"anastigmat"  lens  is  actually  a  system  of 
three  or  more  lenses,  or  components,  with 
the  simple  meniscus  as  its  basis.  In  word, 
the  solution  is  a  simple  one:  algebraically, 
a  plus  two  and  a  minus  two  equals  zero. 
In  the  simple  meniscus  lens,  the  defects  are 
measured  as  a  definite  positive  quantity, 
then  these  same  defects  are  ground  in  the 
opposite  direction  into  another  lens,  or 
as  a  negative  quantity.  In  practice,  this 
"corrective  unit"  consists  of  two  lenses, 
or  components,  one  of  them  a  positive 
lens,  and  the  other  a  negative  one,  so  that 
their  dioptic  power  (their  power  as  a  lens) 
is  zero  also,  leaving  the  simple  meniscus 
lens  in  the  rear  of  the  system  to  do  all  the 
actual  work  of  focusing  the  rays  to  a  point. 
In  this  manner  we  have  the  simple  lens 
working  unmodified  or  otherwise  changed 
by  the  system  in  front  of  it,  yet  with  its 
defects  or  aberrations  eliminated  by  can- 
celling them  out  with  the  front  compo- 
nents. 


Scheibe's  Hotspot  Iris 

Projectionists  who  are  employed  in  the 
transparency  department  find  that  they  are 
bothered  with  the  "hotspot",  a  flare  of 
light  on  the  screen  that  is  the  result  of  the 
arc  in  the  center  of  the  picture  being  hot- 
ter than  on  the  sides  of  the  picture.  Many 
devices  and  methods  have  been  tried  to 
offset  the  "hotspot",  but  with  the  devel- 
opment of  background  projection  effects 
a  decade  ago  some  cure  was  needed.  I  de- 
veloped   what    is    known    as   the    "Hotspot 

In 
ris. 

Scheibe's  Hotspot  Iris  is  adjustable  in 
many  ways.  It  is  used  on  the  projector  to 
eliminate  the  "hotspot"  in  the  center  of 
the  screen  so  it  will  photograph  as  evenly 
as  the  sides  of  the  screen.  The  Hotspot 
Iris  is  moved  toward  and  away  from  the 
projection  lens  until  the  hotspot  is  elim- 
inated from  the  screen. 

After  the  "hotspot"  is  eliminated  the 
screen  is  photographed  with  the  actors 
and  actresse  bet  wen  the  camera  and  screen. 
Cameramen  go  out  on  location  to  photo- 
graph backgrounds  for  process  work  the 
world  over  and  the  Hotspot  Iris  aids  mate- 
rially in  making  such  efforts  possible. 
The  Hotspot  Iris  is  made  in  6"  x  6"  and 
8"  x  <>"  with  a  blue  or  a  neutral  color 
in  the  center.  About  .50  neutral  is  the  best 
color  to  use,  though  any  desired  color  will 
he  made. 


22 


International  Photographer  for  January,  1941 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TCLE  V 


Reprinted  from  the  Journal  of  the  Society  of  Motion  Picture  Engineers,  hy  special  permission. 


Summary — The  Television  Committee 
of  the  Society  during  the  past  year  has  car- 
ried out  a  considerable  amount  of  work  as 
listed : 

(1)  Flicker  and  visual  fatigue  in  tele- 
vision has  been  studied,  a  preliminary  re- 
port on  which  work  is  presented  herein. 

(2)  A  study  of  the  most  suitable  type 
of  film  for  television  transmissions  has 
been  carried  out,  a  report  on  which  will  be 
presented  also. 

(3)  More  material  has  been  added  to 
a  bibliography  and  glossary  of  terms  in 
the  field  of  television,  which  work  was 
started  more  than  a  year  ago  and  which 
still  continues. 

Preliminary  Report  of  the  Sub- 
Committee   on   Flicker    and 
Visual  Fatigue 

General — Since  early  May  of  this  year, 
a  sub-committee  has  been  actively  studying 
the  problem  of  frame  frequency  in  tele- 
vision. In  this  assignment,  it  was  instructed 
to  correlate  available  information  on  the 
subject  as  affected  by  three  major  factors, 
namely:  (1)  Flicker.  ,(2)  Portrayal  of  mo- 
tion.    (3)   Visual  fatigue. 

The  need  for  such  a  fact-finding  com- 
mittee has  become  more  apparent  within 
the  past  year  and  it  was  felt  at  the  outset 
that  the  motion  picture  industry  as  a  whole 
was  peculiarly  well  situated  to  assist  tele- 
vision in  this  work.  Because  of  its  familiar- 
ity with  existing  experience,  the  ability 
within  its  ranks,  and  ts  tools  for  prosecut- 
ing new  experimental  work  when  the  need 
for  such  work  was  determined,  the  Society 
of  Motion  Picture  Engineers  is  in  a  par- 
ticularly favorable  position  to  sponsor 
such  work. 

The  first  task  was  to  index  and  abstract 
as  much  of  the  existing  literature  as  seem- 
ed pertinent  and  possible.  Following  this 
work,  the  gaps  in  existing  knowledge 
would  be  more  apparent  and  as  the  need 
for  further  work  was  apparent,  experi- 
ments and  means  for  performing  them 
could  be  devised. 

This  report  covers  the  first  part  of  this 
program. 

Bibliography — A  list  of  the  articles  and 
books  found  to  date  relating  to  this  sub- 
ject is  appended.  It  is  not  hoped  that  this 
is  complete  and  since  it  is  only  necessary 
that  the  information  obtained  be  compre- 
hensive, pertinent,  accurate,  and  descrip- 
tive of  the  essential  facts,  completeness  in 
the  bibliography  was  not  considered  vital. 
Summary  of  Findings — Since  television 
observation,  as  a  visual  task,  is  not  essen- 


tially different  from  motion  picture  ob- 
servation, it  is  possible  to  correlate  data 
from  the  latter  field  for  direct  use  in  the 
former.  One  important  element  in  such 
considerations  is  the  average  brightness 
level  found  in  current  practice. 


a 

<j  S  so 

t  in 

U   <D 

it 

a        40 
<" 


s  8 

£^A 

--'D 

.8  1.2 

Log.  I 


1.6 


2.0 


Fig.  1.  Critical  frequency  vs.  log  intensity  for  4  degrees 
diameter  of  stimulation  area  for  4  subjects  (P.  A.  Snell, 
J.  Soc.  Mot.  Pict.  Eng.,  May,  1933,  p.  367). 

General  experience  shows  that  visual 
fatigue  accompanies  any  prolonged  visual 
task  and  since  motion  picture  observation 
can  be  no  exception  to  this,  it  is  not  to  be 
expected  that  television  observation  will 
be  an  exception.  Opthalmological  re- 
search has  revealed  the  importance  of  ob- 
ject brightness  in  the  problem  of  visual 
fatigue;  therefore,  data  on  the  present 
screen-brightness  practice  in  the  motion 
picture  theater  is  of  fundamental  import- 
ance to  the  object  of  this  work.  The  data 
submitted  have  a  direct  bearing  on  the 
television  problem  since  some  general 
knowledge  obtained  from  practical  or 
every-day  experience  is  available  to  every- 


Field  brightness 
ca1dle5  per  s«.  meter 


Fig.  2.  Critical  frequency  vs.  brightness  for  square 
wave — white  light  illumination  cycle  (Fig.  94,  "Principles 
of  Optics,"  Hardy  and  Perrin,  McGraw-Hill  Book  Co.,  New 
York). 


one  and  correlated  technical  data  are 
available  to  the  specialist  from  the  field 
of  motion  pictures. 

A  survey  made  early  in  1940  and  cov- 
ering a  group  representative  of  the  larger 
theaters  in  the  United  States  (seating  ca- 
pacity from  2300  to  3500)  shows  a  range 
of  central  screen  brightness  of  from  6  to 
10  foot-lamberts,  as  reported  by  Mr.  A.  C. 
Downes  of  the  National  Carbon  Company. 
These  measurements  were  made  with  the 
projector  operating  without  film  For  the 
smaller  theaters  , which  are  in  the  vast  ma- 
jority, it  has  been  reported  that  a  com- 
parative figure  would  be  about  4Vij  foot- 
lamberts  under  similar  and  favorable  con- 
ditions. 

Since  these  figures  are  significant  in  the 
study  of  flicker  and  visual  fatigue,  they  are 
included  in  this  report  in  order  that  the 
present  practice  may  be  correlated  with  the 
optical  requirements.  Reports  from  for- 
eign sources  indicate  that  brightness  levels 
of  the  order  of  10  foot-lamberts  are  being 
realized.  This  falls  within  the  range  of 
10-+-4  to  10 — 1  foot-lamberts  which  is  the 
present  SMPE  Recommended  Practice. 

Flicker — Since  the  visual  apparatus  does 
not  respond  instantly  to  a  stimulus  or  to 
its  removal,  persistence  of  vision  can  pre- 
vent flicker  from  being  observed.  It  has 
been  shown  that  above  the  frequency  at 
which  flicker  is  not  observable,  the  appar- 
ent brightness  of  an  object  viewed  in  in- 
terrupted illumination  is  the  average 
brightness,  provided  the  illumination  is 
continued  for  more  than  3  per  cent  of  the 
cycle.  It  should  be  noted  that  under  the 
most  favorable  conditions  of  brightness 
and  flicker  frequency,  the  least  perceptible 
change  in  brightness  is  of  the  order  of  1.5 
per  cent. 

The  sensitivity  of  the  eye  to  flicker  has 
been  tested  by  numerous  investigators  who 
agree  in  general  that  the  frequency  at 
which  the  phenomenon  disappears,  called 
the  critical  frequency,  is  a  linear  function 
of  the  logarithm  of  the  brightness  within 
the  range  of  present  interest.  Certain  au- 
thors carefully  specify  a  constant  area  of 
stimulation    (see  Figs.   1   and  2). 

At  least  one  authority  is  convinced  that 
flicker  is  still  apparent  on  the  screen  and, 
furthermore,  feels  that  present  brightness 
levels  are  so  low  that  a  change  in  the  di- 
rection of  "easiest  seeing"  would  result 
in  still  greater  flicker.  It  seems,  however, 
to  have  been  generally  granted  that  the 
flicker  situation  has  been  considerably  im- 
proved. 


23 


The  seriousness  of  flicker  is  due  to  the 
duration  of  the  exposure  when  observing 
motion  pictures  of  television  programs.  It 
has  been  found  that  at  a  constant  average 
brightness  the  percentage  duration  of  the 
light  stimulus  during  the  cycle  affects  the 
critical  frequency  (Fig.  3). 

The  same  authority  states  that  the  funda- 
mental component  of  the  Fourier  series 
expressing  the  stimulus  for  constant  aver- 
age brightness  exerts  a  major  control  on 
the  critical  frequency  except  when  the 
stimulus  is  off  for  only  small  percentages 
of  the  cycle,  in  which  case  the  perception, 
as  well  as  the  further  depression  of  the 
critical  frequency,  is  due  to  the  higher 
order  components.  The  critical  frequen- 
cies were  found  to  be  lower  when  the  sur- 
roundings were  dark  than  when  they  were 
made  equal  in  brightness  to  the  field  of 
the  test  and  that  results  for  a  reduction 
of  the  field  of  test  to  1/5  with  surround- 
ings left  equal  to  the  previously  employed 
field  were  than  either.  Differential  sen- 
sitivity as  measured  by  the  inverse  of 
the  Weber  Fechner  fraction  AB/B  was 
found  to  be  highest  when  the  test  field  lay 
in  surroundings  of  about  its  own  bright- 
ness, the  sensitivity  being  lower  for  dark- 
ened surroundings  and  considerably  lower 
as  the  surroundings  level  was  increased 
over  that  of  the  test  field.  These  findings 
are  said  to  be  parallel  to  the  relation  be- 
tween sensitivity  to  brightness  difference 
and   comparative  brightness  conditions  of 


the  test  field  and  surroundings.  Other  in- 
vestigators have  reported  similar  findings 
and  state  that  the  sensitivity  of  the  eye  to 
flicker  is  increased  when  adapted  to  bright 
light  as  well  as  when  the  region  around 
flickering  area  is  illuminated.  Maximum 
sensitivity  occurs  when  the  surrounding 
field  is  equal  to  the  test  field.  The  process 
of  adaptation  continues  for  as  much  as  a 
half  hour    I  see  Fig.  4). 

It  is  reported  that  maximum  sensitivity 
to  flicker  occurs  at  yellow  in  the  spectrum, 
being   less  at  either  end. 

It  has  been  found  that  the  retina  is  not 
uniformly  sensitive  to  flicker  over  its  en- 
tire surface.  The  region  within  10  degrees 
of  the  fovea  demands  the  highest  critical 
frequencies.  Since  this  area  is  most  com- 
monly needed  for  viewing  motion  picture 
and  television  programs  it  is  indicated  that 
results  for  this  area  should  be  satisfied  in 
both   fields. 

Flicker  tests  with  a  cathode-ray  tube 
screen  having  an  exponential  decay  curve 
falling  to  approximately  2  per  cent  in 
1/24  second  have  been  reported  in  which 
the  room  lighting  was  about  1/10  foot- 
candle.  At  a  screen  brightness  correspond- 
ing to  1  foot-lambert,  the  flicker  was  said 
to  have  been  just  noticeable  at  38  frames 
per  second,  noticeable  at  35  frames  per 
second,  and  disagreeable  at  28  frames  per 
second.  It  was  concluded  from  the  curves 
shown  and  data  presented  that  a  satisfac- 
tory  solution   for   reduction    of  the   frame 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE  IN   EVERY  DETAIL 


LABORATORY  EQUIPMENT  WILL  BE 
ON  DISPLAY  AT  THE  NEW  SHOW 
ROOM,  IN  CONNECTION  WITH  MY 


New  Address: 


1515  Cahuenga  Blvd. 

Hollywood,  California 


ART  REEVES 

Cable  address:  ARTREEVES 


V  o 

V  z 
r  o 

d  » 

UJ  0! 

U  u 

a.  a- 

j  v> 

<  UJ 

U  -I 

t  y 
U 


16 

/z 

8 

A 

ft 

o  .5  1.0 

Relative    Duration 

of 
Illumination  over  Cycle. 

Fig.  3.  Variation  of  critical  frequency  with 
relative  duration  of  illumination  for  spectral  blue 
light  in  range  where  critical  frequency  does  not 
change  with  intensity  (P.  W.  Cobb,  J.  Opt.  Soc. 
Amer.,  April,  1934,  p.  107). 

frequency  under  30  per  second  would  not 
be  found  in  an  exponential  light-output 
decay  curve. 

It  is  important  that  effects  such  as  this 
be  reduced  to  a  minimum.  Standards  of 
ideal  performance  should  not  be  dictated 
by  those  best  equipped  visually,  but  the 
average  of  those  with  "impaired  vision" 
must  be  seriously  considered. 

It  is  apparent  that  frame  frequency  is 
not  the  only  source  of  flicker  either  in  the 
theater  or  on  the  television  screen  but 
since  the  work  of  this  committee  was  pri- 
marily related  to  the  effects  of  frame  fre- 
quency upon  certain  phases  of  the  tele- 
vision viewing  problem,  of  which  flicker 
was  one,  no  attention  has  been  given  to 
collateral  causes  and  effects  of  flicker  in 
this  field.  It  is  assumed  that  those  effects 
not  being  fundamentally  subject  to  Stand- 
ards having  the  relationship  of  the  "key 
and  lock,"  could  be  considered  in  other 
ways. 

The  Portrayal  of  Motion — This  problem 
has  been  the  least  satisfactorily  treated, 
the  literature  being  meager  to  the  extent 
of  almost  non-existence.  Resort  has  been 
taken  to  correspondence  with  the  produ- 
cers of  animated  cartoons.  Only  a  few  re- 


^   A 

Sh 

o 

-2    -l.fc  -.11 


.8 


LOG|0      B     (FT.    LAM&ERTS) 

Fig.  4.     Wcber-Fechner  fraction  as  a  function  of  bright- 
ss  (B.  O'Brien  and  C.  M.  Tuttle,  J.  Soc.  Mot.  Pict.  Eng., 
1936,  p.  577). 

plies  have  been  received  at  this  time.  An- 
swers to  this  correspondence  are  still  ex- 


24 


Intkhnationai.  Photographer  for  January,  1941 


pected  but  so  far  they  do  not  contain  full 
information  of  the  kind  sought. 

It  is  appreciated  at  the  outset  that  in  this 
regard  television  is  at  present  under  some 
handicap  in  relation  to  the  motion  picture. 
In  motion  picture  production  sequences 
having  considerable  action  are  taken  by 
careful  choice  of  the  most  favorable 
angles.  This  necessitates  use  of  lenses 
which  will  cover  a  fair  depth  of  field,  the 
remaining  inaccuracies  being  compensated 
for  by  the  skill  of  the  cameraman.  In  tele- 
vision, it  has  not  been  found  possible  as 
yet  to  use  lenses  of  the  same  or  equivalent 
depth  of  field;  hence,  it  seems  reasonable 
to  assume  that  the  cameraman  will  be 
forced  to  choose  less  favorable  angles  or 
risk  inexact  focus.  If  the  former  choice  is 
made,  the  problem  of  adequate  portrayal 
of  motion  becomes  much  more  serious 
especially  if  the  frame  frequency  is  re- 
duced. 

It  was  reported  by  J.  A.  Norling  of 
Loucks  and  Norling  Studios,  from  experi- 
ence in  days  of  silent  pictures  when  "pro- 
jected at  16  frames  per  second,  which  then 
was  the  theoretical  projection  speed,  an 
animated  cartoon  thus  made  showed  rather 
jumpy  action  but  when  the  frame  fre- 
quency was  increased  beyond  16  frames 
per  second  .  .  .  this  jumpy  action  became 
smoothed   out." 

He  continues,  "I  review  these  matters 
merely  to  add  emphasis  to  the  need  for  a 
higher  picture  frequency  than  the  8  to  12 
picture  frequency  employed  in  2-frame  ex- 
posures and  with  projection  speeds  of  16 
frames  per  second  to  24  frames  per  sec- 
ond" 

Commenting  on  the  previous  problem 
(flicker),  it  was  further  stated  that,  for 
light  changes  such  as  prduced  by  a  shutter, 
for  screen  illuminations  of  as  much  as  12 
foot-candles  (produced  by  no  film  in  the 
projector ) ,  flicker  is  apparent  at  96  pe- 
riods per  second  ( as  obtained  from  a  3- 
bladed  shutter)  but  the  correspondent  in- 
dicated that  smooth  motion  and  not  flicker 
was  the  essential  problem  if  reduction  of 
frame  frequency  were  considered. 

Mr.  D.  Fleischer  of  Fleischer  Studios, 
Inc.,  stated,  "In  regard  to  cartoons,  we 
have  found  the  24  per  second  frame  fre- 
quency the  most  practical  for  our  use  and. 
as  I  believe  animated  cartoons  will  be  an 
important  factor  in  television,  I  hope  that 
this  will  not  change  in  their  adaptation  to 
this  medium." 

Mr.  W.  E.  Garity  of  the  Walt  Disney 
Productions  stated  that  the  number  of 
drawings  used  depended  on  the  speed  of 
the  motion  being  photographed  and  that 
"for  slow  movements,  a  drawing  for  every 
frame  is  necessary." 

The  committee  is  still  expecting  more 
complete  answers  to  its  correspondence 
and  hopes  to  amplify  this  section  of  its 
progress  report  when  and  if  this  informa- 
tion  becomes  available. 

Visual  Fatigue — Visual  fatigue  is  a  tech- 
(Continued  on  page  28) 


TRBDEWIflDS 


Swivel  Lens  Mount 

An  ingenious  swivel  lens  mount  for  all 
Solar  enlargers  will  soon  be  released  by 
Burke  &  James,  Inc.,  223  W.  Madison  St., 
Chicago.  The  swivel  lens  mount  enables 
the  operator  to  tilt  the  lens  for  correcting 


distortion  and  creating  comic  effects.  It 
has  the  advantage  of  permitting  a  substan- 
tial angle  adjustment  in  all  directions. 

The  mount  consists  of  a  lens  flange, 
swivel  joint  with  ring  lock  and  4x4  inch 
lens  board.  It  is  adaptable  for  use  with 
most  all  3  or  3%  inch  lenses.  The  lens 
is  held  securely  in  place  when  the  desired 
angle  is  obtained,  and  it  is  the  work  of 
only  a  moment  to  substitute  the  regular 
straight  mounting  when  a  change  is  de- 
sired. The  new  mount  I  patents  pending ) 
will  list  as  a  Solar  accessory  and  sell  for 
$5.50  less  lens. 

Agfa  Darkroom  Outfits 

Two  new  Darkroom  Outfits  designed  for 
developing  and  printing  requirements  of 
amateur  photographers  have  just  been  an- 
nounced by  Agfa  Ansco.  Identified  as  the 
No.  1A  and  No.  2A  Outfits,  the  develop- 
ing kits  provide  all  necessary  material  for 
developing  and  printing,  differing  from 
one  another  in  elaborateness  and  quantity 
of  equipment. 


Both  outfits  are  entirely  made  in  U.  S.  A. 
and  are  obtainable  through  all  regular 
photographic  dealers,  the  No.  1A  at  $2.45 
list  and  the  No.  2A  at  $4.95  list. 

New  Leiea  Booklets 

A  new  pamphlet  has  been  issued  by  E. 
Leitz,  Inc.,  which  describes  the  popular 
Leitz  VIII-S  projector.  Its  various  features 
are  outlined  and  illustrated  and  in  addi- 
tion, there  is  information  on  how  to  use 
the  VIII-S  for  micro  projection,  stereo 
projection,  automatic  projection,  etc.  An- 
other Leitz  pamphlet  just  off  the  press  de- 
scribes the  Models  V  and  VI  Synchronized 
Flash  Units. 

The  number  of  this  pamphlet  is  1284; 
the  one  on  the  VIII-S  Projectors  is  1285. 
Both  may  be  had  by  writing  to  E.  Leitz, 
Inc.,  at  730  Fifth  Avenue,  New  York,  N.  Y. 


COOKE  LENSES 

have  earned  world-wide  pref- 
erence among  experienced 
cinematographers  because 
they  give  superior  results  un- 
der all  conditions.  Focal 
lengths  for  every  need.  Write 
for  descriptive  circular. 

BELL  &  HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor- Hobson  Cooke  Cine  Lenses 

1848  Larchmont  Ave.,  Chicago 
New  York:  30  Rockefeller  Plaza 
Hollywood:  716  N.  La  Brea  Ave. 
London:    13-14    Great    Castle   St. 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


25 


Pfl  T  e  n  TS 


By  ROBERT  W.  FULWIDER 
Patent  Attorney,  Los  Angeles 

No 


No.  2,219,304  —  Colored  Photographic 

Multilayer  Material.   4  claims. 
No.  2,219,305 — Photographic  Multilay- 
er Material  for  Color  Photographic 
Purposes.   5  claims. 
No.  2,219,306 — Photographic  Material. 
6  claims.  Bela  Caspar.  Hollywood,  Calif. 
Applns.  Dec.  3,  1938.    In  Great  Britain 
Dec.  9,  1937. 
Color  films  having  a  plurality  of  emulsion 
layers  with  one  or  more  of  the  layers  con- 
taining   dyes    which    are    fast    to    ordinary 
photographic  treating  solutions. 
No.   2,219,850 — Sound    Picture   Appara- 
tus. Herbert  Norman  Schwarzkopf,  Law- 
renceville,  N.  J.,  assignor  to  Radio  Corp. 
of    America.    Appln.    March    28,    1936. 
2  claims. 
A  removable  flexible  floor  covering  having 
sockets    on    said    covering    for    fixing    the 
position  of  a  camera,  other  sockets  on  said 
covering  for  fixing  the  position  of  micro- 
phone supports,  and  other  sockets  on  said 
covering  for  fixing  the  position  of  a  gradu- 
ated screen  in  alignment  with  said  camera. 
No.    2,219,987  —  Multilayer    Material 
for  Color  Photography  and  Method 
of  Making  the  Same.    7  claims. 
No.  2,219,988  —  Light-Sensitive  Multi- 
layer   Photographic    Material    and 
Process    for    Making    the    Same.     5 
claims.  Bela  Caspar.   Hollywood.   Calif. 
Appln.   Dec.   3,   1938.   In   Great  Britain 
Dec.  9,  1937. 
Color  films  having  a  plurality  of  emulsion 
layers  with  one  or  more  of  the  layers  con- 
taining  dyes   which   are   fast   to    ordinary 
photographic  treating  solutions. 
No.    2,223,525  —  Film    Magazine    Light 
Trap.    Charles  Melvin  Miller,   assignor 
to  Twentieth  Century-Fox  Film  Corpor- 
ation. Appln.  May  9,  1938.  7  claims. 
A  motion  picture  camera  which  has  light 
proof  doors   at   the    film    apertures   which 
lead  to  the  film  magazine  the  doors  open- 
ing and  closing  as  the  lock  on  the  camera 
door  is  operated. 

No.  2,224,163— Color  Photography.  Vir- 
gil B.  Sease  and  Dearie  R.  White,  assig- 
nors to  Du  Pont  Film  Manufacturing 
Corp.  Appln.  March  20,  1937.  3  claims. 
A  method  of  producing  individual  color 
component  records  from  superposed  image 
records  by  printing  an  intermediate  record 
of  the  superposed  record,  bleaching  the 
superposed  records  in  a  non  hardening 
bleach  sail  until  the  outer  image  is  con- 
verted to  silver  salt,  removing  the  salt  in 
a  fixing  hath,  and  then  reforming  the  elim- 
inated record  hv  printing  through  both  the 
intermediate  record  and  the  remaining  rec- 
ords  of   the   original   superposed    record. 


2,224,329  -  -  Color    Photography. 

Gustav    Wilmanns,    Wilhelm    Schneider, 
and  Gerhard  von  Kitjawa,  Germany,  as- 
signors to  General  Aniline  &  Film  Cor- 
poration. Appln.  Oct.  28,  1937.  In  Ger- 
many Oct.  31,  1936.  1  claim. 
A  method  of  producing  color  pictures  by 
making  an   exposure  on  a  multi-emulsion 
negative  having  special  color  formers  fast 
to    diffusion    in    it,    and    printing    onto    a 
multi-emulsion  positive  having  color  form- 
ers  fast    to   diffusion    while   adjusting   the 
color  of  the  printing  light. 

No.  2,224,383 — Film  Footage  Indicator. 
Otto    W.    Githens,    George    Kende,    and 
Everett  M.  Porter,  assignors  to  Univer- 
sal  Camera  Corp.,   New  York.   Original 
appln.  April  7,  1937.  Divided  and  this 
appln.  July  19,  1939.    7  claims. 
A    footage    indicator    for    motion    picture 
cameras  having   a  spring  motor,  the  indi- 
cator being  driven  by  the  spring  motor  by 
means  of  a  ratchet  wheel. 

No.  2,224,726  —  Photographic  Camera. 

George  B.  Finnegan,  Jr.,  and  George  D. 

Creelman,   Mountain   Lakes,   N.   J.,   said 

Creelman  assignor  to  said  Finnegan,  Jr., 

and   Hobart  N.   Durham,  Munsey   Park, 

Long     Island,     N.     Y.,     a     partnership. 

Appln.  Aug.  25,  1938.  5  claims. 

A  camera  having  a  photocell  control   for 

the   diaphragm   and   also    a   heat   sensitive 

control  to  vary  the  transmission   of   light 

to   the   film   in    inverse   proportion   to    the 

amount  of  radiant  heat  energy  in  the  light. 


Ice  House 

(Continued  from  page  11) 

inated  by  the  gases  of  the  many  arc  lamps. 
Roughly,  650  tons  of  refrigeration  which 
would  supply  the  entire  needs  of  a  small 
city  for  a  long  time,  barely  meet  the  re- 
quirements under  the  numerous  arc  lamps 
used  in  a  shooting  period  of  one  day  of 
Technicolor. 

An  ideal  setup  for  refrigerated  air  con- 
ditioning would  be  an  empty  cube  or  cyl- 
inder permitting  an  unobstructed  flow  of 
chilled  air. 

We  are  certain  that  the  readers  of 
International  Photographer  are  aware 
of  how  much  free  area  there  is  on  the 
average  set,  coupled  with  the  large  back- 
ground or  cycloramas  used  to  extend  the 
horizon  limitations  of  the  sets,  creating  a 
genuine  headache  on  air  circulation. 
Forcing  approximately  65,000  cubic  feet 
per  minute  of  fresh  air,  chilled  to  about 
20°F.  or  less  at  floor  level,  gives  an  idea 
of  the  heat  generated  by  the  arc  lamps 
when  you  realize  that  the  air  escaping 
through  the  exhaust  hatches  in  the  ceiling 
has  increased  in  temperature  from  20°  to 
70°F.  Bodily  discomfort  has  been  a  pri- 
mary   consideration    among   the   operating 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and   Black  and  White  Printers,  Re- 
winds. 
Special    Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:    "CINEBARSAM" 


A  CAMERA      TABLE  TOP    MICROGRAPHIC     COPYING      LENS  CHANGE   HORIZONTAL 


'^fi- 


SOLAR  GIVES  Y0HAUS/X 


A  Solar  will  bring  out  the  "Prize  Winning"  qualities  01 
every  negative — in  every  print.  It  gives  you  all  the 
wanted  features  for  perfect  enlarging — adjustable  condensers, 
perfected  light  and  optical  system,  micrometric  focusing,  etc. 
In  addition  your  Solar  can  be  instantly  converted  to  a  portrait 
and   copying  camera — coupled   to  a   microscope  for  scientific   work 

l r^^ir^^i^Wv     — or  '*   may   also  be  used  as  a  copy  stand 

with  your  regular  camera.  Eight  models 
cover  35mm.  to  5x7  inch  negatives.  Prices 
start  at  $34.50. 

ENLARGING  TREATISE  FREE 

Prepared  by  experts  and  written 
in  the  amateurs'  own  language. 
Thirty-six  pages  profusely  illustrated. 
Tells  you  how  to  transform  your 
ordinary  negatives  into  big  beautiful 
pictorial  enlargements.  Loaded  with  meaty  in- 
formation.   Answers    every    enlarging   problem. 

Ask   for  Enlarging  Treatise  IP141.   It's   Free. 


*'V- ' 


® 


BURKE  &  JAMES,  Inc., 


223  W.  Madison  St.  Chicago 


26 


International  Photographer  for  January.  1941 


factors  of  the  Ice  House  during  the  past 
four  years.  Paramount's  Mr.  A.  C.  Zoulis 
was  insistent  that  during  the  prolonged 
stay  of  Paramount's  "Untamed,"  comfort 
of  the  cast  and  technical  crew  was  a  ma- 
jor condition.  This  was  amply  provided 
for  by  construction  of  a  large  vestibule 
surrounding  the  doors  of  the  Ice  House, 
maintained  at  an  intermediate  temperature, 
which  reduces  to  a  large  degree  the  bodily 
shock  of  temperature  change,  that  on 
many  occasions  would  amount  to  a  70° 
change  in  temperature.  Again,  the  serving 
of  hot  chocolate,  soup,  and  coffee  through- 
out the  working  day  compensated  to  a 
large  degree  the  effects  of  an  arctic  tem- 
perature on  workers  accustomed  to  a 
tropical  climate. 

In  the  four  year  period  of  operation 
studio  prop  departments  have  used  in  the 
Ice  House  nearly  every  form  of  wild  life 
that  would  be  found  in  a  cold  climate, 
and  the  bewilderment  of  these  animals 
and  their  subsequent  enjoyment  of  the 
snow  and  cold  climatic  conditions  has 
been  the  cause  of  much  merriment  among 
the  crews. 

Of  course,  snow  fights  and  snow  balling 
have  not  been  neglected  by  the  various 
personnel,  and  at  times  the  barrage  of 
snow  balls  equals  the  well-known  Euro- 
pean "Blitzkreig." 

The  activities  of  the  Ice  House  Techni- 
cal Department  have  not  been  confied  to 
the  low-temperature  stage  proper,  but 
have  been  in  constant  call  to  one  or  the 
other  lots  of  the  studios.  Thousands  of 
tons  of  ice  have  been  used  on  the  various 
studio  lots,  where  practical  snow  greatly 
out-distances  the  older  substitutes.  Of 
course,  it  is  advisable  to  continue  using 
substitute  snow  on  roof  tops  and  window 
ledges  or  places  where  the  problem  of  drip 
may  be  encountered,  but  where  action  is 
to  take  place,  the  using  of  a  layer  of  prac- 
tical snow  is  far  superior  to  any  of  the 
substitutes.  Outdoor  activities  of  the  Ice 
House  Equipment  have  been  used  with 
great  success  in  pictures  such  as  Para- 
mount's "Spawn  of  the  North,"  where  the 
glacier  ice  breakaways  were  done  in  min- 
iature and  even  though  the  miniature  set 
was  approximately  32  feet  high,  the  fall- 
ing ice  would  actually  have  swamped  a 
full  sized  boat  through  sheer  weight. 
Other  outdoor  activities  requiring  snow 
have  taken  advantage  of  these  unique 
services  and  have  used  practical  snow  suc- 
cessfully on  ski  jumps  and  for  contrast 
exploitation  stunts  of  our  local  Chamber 
of  Commerce,  that  delights  in  advertising 
bathing  beauties  enjoying  a  shivery  frolic 
in  snow  amid  waving  palm  trees. 

In  a  summing  up  of  the  four-year  period 
of  the  Ice  House,  and  adjustant  activities, 
the  department  handling  the  snow  busi- 
ness, under  the  leadership  of  Nels  H.  Ros- 
berg,  has  enjoyed  an  active  and  varied 
existence  with  a  closer  understanding  of 
the  climatic  problems  of  the  studios. 


They  sAy*" 


•  Hill  Skall's  assignment  as  first  camera- 
man on  "Billy  the  Kid,"  MGM  Production, 
coincides  with  Skall's  perennial  youthful- 
ness.  Joining  him  are  Charlie  Boyle  and 
Len  Smith,  first  cameramen:  Charles  Sal- 
erno, second  cameraman;  Paul  Hill  and 
Duke  Callahan,  Technicolor  technicians; 
Al  Scheving,  assistant;  Al  Bayliss,  loader 
and   Milton    Brown,  still   cameraman. 

•  Jack  McHenry,  Universal  newsreeler, 
now  the  hushand  of  charming  Anita 
Jenkins. 

•  Mack  Stengler  working  over  at  Dis- 
ney's, following  Bert  Glennon  who  com- 
pleted the  assignment  there. 

•  Hal  Mohr  on  Jimmie  Roosevelt's  "Pot 
of  Gold."  To  be  specific,  he  is  shooting  the 
picture. 

•  Roy  Seawright  and  Bill  Draper  putting 
their  heads  together  at  Hal  Roach  Studios 
to  give  us  another  of  those  enjoyable 
"Topper"  pictures. 

•  Plaudits  to  cameraman  Eddie  Linden 
for  giving  so  many  of  the  boys  a  break 
on  Korda's  picture,  "Lady  Hamilton." 
Eddie  tried  to  make  it  a  cheerful  Christ- 
mas for  many  of  the  brothers. 

•  In  from  location  on  "The  Outlaw," 
Hughes  Production,  are  Lucien  Ballard, 
Harry  Newman,  Harry  Zech,  first  camera- 
men; Lloyd  Ahern,  Arthur  Lane,  Jeff 
Gibbons,  William  Knott,  second  camera- 
men; Al  Smalley,  T.  F.  Jackson,  Paul 
Cable,  Roy  Ivey  and  Jimmie  Murray,  as- 
sistants. 

•  Walter  Bader,  of  whom  very  little  is 
heard  these  days,  is  in  charge  of  optical 
printing  at  National  Screen  Service. 

®  Jack  Thomas  also  is  busily  engaged 
optical  printing  at  Universal. 

•  President  Gus  Peterson  on  the  go 
shooting  "Picture  People"  for  Pathe  Pro- 
ductions, following  his  recent  engagement 
with  Jam  Handy. 

©  John  Stumar  back  in  harness  at  Col- 
umbia Studio. 

•  John  Burton  of  Schlesinger  Studios, 
member  of  Local  659,  is  general  super- 
visor of  all  productions  at  that  studio. 
Burton  has  contributed  much  in  the  way 
of  special  title  work  to  various  major  pro- 
ductions. 

•  James  Buchanan,  Local  644,  is  now  a 
full  fledged  major  in  the  United  States 
Signal  Corps. 

•  Harry  Smith,  Local  644,  en  route  to 
South  America  for  Pathe  Productions. 

•  Sam  Greenwald,  news  reeler,  in  Mexico 
City  shooting  the  Mexican  president — with 
camera. 

•  Ray  Fernstrom  busy  as  a  bee  writing, 
supervising  and  photographing  ad  films, 
as  he  calls  them. 


By  RELLA 

•  Word  from  England  through  the  Jour- 
nal of  the  Cine  Technicians  states  that 
Leslie  Rowson  is  in  the  R.A.F. 

•  Harry  Perry  on  his  way  to  Haiti  shoot- 
ing backgrounds  for  Paramount. 

•  John  Nicholaus  assistant  cameraman,  is 
the  son  of  John  Nicholaus,  head  of  the 
Lab  Dept.  at  MGM.  The  latter's  keen  judg- 
ment of  photography  is  acknowledged  by 
all  cameramen. 

•  Camera  Department  at  Columbia  is 
proud  of  the  fact  that  Joe  Walker  and  Fayte 
Brown  have  been  mentioned  for  the  best 
photography  on  "Arizona."  Harry  Hallen- 
berger  who  also  contributed  much  to  the 
photography  on  that  picture  comes  in  for 
praise,  although  he  is  better  known  as  a 
Paramount  man. 

•  Jack  Anderson,  assistant  cameraman, 
who  has  not  aged  a  day  in  the  last  ten 
years,  still  performs  as  male  lead  in  Col- 
umbia Cubs  Productions. 

•  As  the  year  draws  to  a  close  and  we 
enter  1941,  it  is  the  wish  and  hope  of  all 
members  of  Local  659  that  they  will  em- 
bark on  a  constructive  program  to  assist 
and  aid  those  who  have  been  unfortunate 
in  getting  their  due  share  of  the  work.  We 
realize  that  being  a  cameraman  surrounds 
itself  with  certain  trials  and  tribulations 
over  which  there  is  no  control.  At  the  same 
time,  when  all  join  hands  not  only  to  guide 
a  boat,  but  share  room  for  those  who  are 
uncomfortably  crowded,  it  makes  for  bet- 
ter feeling  and  understanding  amongst 
those  who  are  engaged  in  the  same  voca- 
tional enterprise.  Perhaps  the  solution  may 
not  be  found  over  night,  but  the  willingness 
and  urge  of  those  who  can  help  will  sym- 
bolize a  spirit  of  fellowship.  The  problem 
is:  What  can  you  do  for  your  brother 
member  and  fellow-man;  thus  not  to  be- 
come estranged  from  the  unfortunate.  It  is 
with  Faith,  Hope  and  Charity  that  good  can 
be  done  for  so  many.  We  believe  that  mem- 
bers of  Local  659  will  intelligently  con- 
tribute to  and  support  such  a  program  and 
we  know  that  194l  will  have  this  report  to 
make  to  the  year  of  1942. 


S.M.P.E.  Pacific  Coast  Election 

J.  G.  Frayne  has  been  elected  chairman 
of  the  Pacific  Coast  Section  of  the  Society 
of  Motion  Picture  Engineers  for  1941,  as- 
suming office  January  1st.  He  succeeds 
Loren  Ryder,  who  becomes  member  of  the 
board  of  governors  of  the  national  SMPE 
group  for  1941-42.  C.  W.  Handley  as- 
sumes post  of  secretary-treasurer  of  the 
local  section,  with  F.  J.  Durst,  Barton 
Kreuzer  and  S.  P.  Solow  being  elected  to 
section  board  of  managers  for  the  next 
two  years. 


27 


TelEvisioN 

(Continued  from  page  25) 

nical  phrase  employed  to  indicate  that  the 
apparatus  of  vision  has  sacrificed  some  of 
its  reserve  capacity  for  seeing  (suffered  a 
decline  in  activity)  as  a  result  of  previous 
activity.  It  must  be  carefully  distinguished 
from  a  physical  fatigue.  In  the  latter, 
consciousness  of  the  fatigue  is  general, 
whereas  in  visual  fatigue  consciousness  of 
the  fatigue  is  rare  and  then  generally  ex 
ists  due  to  an  over-exercise  of  the  function 
of  vision.  At  such  stages,  it  can  be  serious 
enough  to  cause  injury  to  sight  depending 
on  the  nature  and  cause. 

Motion  picture  and  television  obser- 
vation need  not  be  more  fatiguing  in  a 
visual  sense  than  many  other  visual  tasks, 
but  their  seriousness  is  due  to  the  pro 
longed  activity  involved  as  well  as  the  sur- 
rounding conditions.  The  accompanying 
visual  fatigue  is  said  to  be  largely  retinal 
and  not  muscular.  The  "redeeming"  fea- 
ture of  the  task  when  viewing  motion  pic- 
tures, according  to  one  authority,  lies  in 
the  use  of  "far  vision."  In  home  television, 
the  vision  is  not  so  "far"  but  fortunately, 
it  is  not  quite  as  "near"  as  when  reading 
a  book.  In  this  regard,  more  information 
is  needed  to  determine  the  effect  of  tele- 
vision observation  on  visual  fatigue  due 
to  the  distance  function  alone. 

The  greatest  difference  in  viewing  tele- 
vision and  motion  pictures  is  in  this  res- 
pect, that  most  screens  in  theaters  can  be 
assumed  to  be  at  a  distance  of  20  feet  or 
more  from  the  viewer,  which  for  all  prac- 
tical purposes  can  be  considered  at  infin- 
ity, at  which  point  the  normal  eye  is  at  rest. 
Whereas,  with  television,  the  object  can 
be  assumed  to  be  from  6  to  8  feet  from 
the  eye,  entailing  an  accommodative  action 
and  thus  necessitating  muscular  accom- 
plishments for  neither  near  nor  far  vision. 

Visual  fatigue  has  been  found  to  be  oc- 
casioned by  high  degrees  of  contrast  either 
between  adjacent  areas  in  the  field  of 
vision  (even  including  the  border  of  the 
screen )  or  in  time  as  would  be  the  case 
due  to  flicker  phenomena,  the  need  to  see 
finer  detail,  and  illumination  levels  below 
those  associated  with  "easiest  seeing."  It 
is  said  that  the  apparatus  of  vision  at- 
tempts to  compensate  for  any  decreased 
efficiency  and  this  effort  is  translated  into 
visual  fatigue  or  even  pain  and  injury  to 
the  sight. 

One  authority  states  that  the  present 
theater  levels  are  far  too  low  for  "easiest 
seeing."  If  this  is  correct,  television,  which 
generally  operates  with  an  average  screen 
brightness  below  that  of  large  theaters, 
should  devise  and  make  experiments  on 
the  visual   fatigue   involved. 

While  the  level  of  theater  screen  bright- 
ness is  probably  actually  below  that  for 
"easiest  seeing,"  it  is  probable  that  the 
decreased  need  for  discernment  of  fine  de- 
tail— the  fact  that  speech  and  action  tell 
much  of  the  story — reduces  the  burden,  so 


that  even  at  the  present  average  level  of 
screen  brightness  the  work  involved  is  not 
in  excess  in  that  for  other  every-day  visual 
tasks  of  equal  duration.  Probably  the 
same  is  true  of  television  to  a  lesser  degree 
due  to  other  effects.  Experimental  evidence 
would  be  needed  for  confirmation.  It 
would  be  complicated  by  the  possible  lati- 
tude and  resolution  of  the  medium. 

The  resolution  of  fine  detail  is  limited 
by  visual  acuity,  which  is  simply  1 /angu- 
lar size.  Greater  brightness  is  required  for 
greater  visual  acuity.  Maximum  sensitivity 
is  reached  only  when  the  visual  angle  is 
not  less  than  about  4  minutes.  Continued 
use  of  the  eyes  to  discern  detail  near  the 
limit  of  visual  acuity  or  near  the  limit  of 
the  Weber-Fechner  fraction  for  brightness 
difference  results  in  visual  fatigue. 

Screen  surroundings  which  are  less 
than  about  1/100  of  the  field  brightness 
have  been  proved  to  be  detrimental,  caus- 
ing visual  fatigue.  In  theaters,  a  border 
brightness  between  0.05  and  0.2  foot-lam- 
bert  was  most  frequently  chosen  when  the 
observer  was  permitted  to  choose  this  level. 
In  the  same  tests  the  screen  brilliancy 
chosen  was  that  corresponding  to  the  order 
of  30  foot-lamberts  if  the  projector  had 
been  operated  without  film.  This  would 
correspond  under  picture  conditions  with 
the  lO  foot-lambert  level  generally  given 
for  close  desk  work. 

Flicker  was  mentioned  as  a  prominent 
cause  of  visual  fatigue.  Intermittency  of 
illumination  was  found  not  to  be  a  serious 
cause  of  visual  fatigue  provided  it  was  not 
discernible  to  the  vision  as  "flicker."  Some 
evidence  was  found  that  flicker  due  to 
frame  frequency  is  still  a  factor  in  visual 
fatigue  in  the  motion  picture  theater. 
However,  other  causes  of  flicker  may  be 
even  more  serious. 

One  has  only  to  look  across  the  beam 
from  the  projector  in  a  darkened  theater  to 
see  that  a  series  of  "shocks"  are  presented 
to  the  eye  due  to  the  normal  shifting  of 
scenes  and  motion  of  objects  in  each  scene. 
Television  and  the  motion  picture  may,  by 
careful  choice,  reduce  this  considerably 
but  it  can  hardly  eliminate  it.  It  seems 
certain  that  as  the  screen  brightness  in- 
creases, more  experimental  work  could 
very  well  be  done  on  visual  fatigue.  The 
case  of  seeing  and  the  effect  of  flicker  may 
have  mutually  opposite  trends  under  the 
influence  of  increased  screen  brightness  but 
whether  or  not  visual  fatigue  could  be  re- 
duced would  seem  to  require  experimental 
verification. 

Furthermore,  it  would  seem  desirable,  if 
possible,  to  devise  experiments  designed 
to  reveal  the  portion  of  visual  fatigue  in 
any  given  motion  picture  or  television  per- 
formance which  may  be  assessed  solely  to 
frame  frequency. 

{To  be  concluded  next  month  ) 

Intricate  Electrical  Eqpt. 

One  of  the  most  unusual  sets  ever  con- 
structed for  a  motion  picture  has  been 
completed    at     Universal    for    use    in    the 


studio's  new  "horror"  melodrama,  "The 
Mysterious  Doctor  R." 

Elaborate  and  complete,  the  set  repre- 
sents a  modern  electrical  research  labor- 
atry  in  which  Lionel  Atwill,  as  a  half-mad 
scientist,  subjects  Lon  Chaney,  Jr.,  to  ex- 
periments attempting  to  prove  a  theory 
that  human  beings  can  be  controlled  by 
electricity. 

Replicas  of  such  intricate  equipment  as 
an  electrostat  table,  high  tension  insulators, 
an  atomic  bombarder,  a  control  cabinet 
and  an  oudin  coil  were  enstructed  in  the 
studio's  technical  department  under  the 
supervision  of  Eric  Wybrow,  noted  elec- 
trical expert. 

Laboratory  sequences  are  calculated  to 
be  dramatic  high  spots  of  "The  Mysterious 
Doctor  R,"  which  is  being  filmed  under 
the  direction  of  George  Waggner. 

Lillian  Russell  Collection 

A  large  mass  of  original  material  deal- 
ing with  the  life,  romances  and  career  of 
Lillian  Russell,  one  of  the  immortals  of 
the  American  theatre,  soon  will  find  its 
way  into  the  archives  of  the  Pittsburgh, 
Pennsylvania  public  library  for  future 
study  by  interested  historians.  The  mate- 
rial was  accumulated  by  Alice  Faye,  film 
star. 

Included  in  the  collection  are  numerous 
theatrical  programs,  original  photographs, 
shoes  worn  by  Miss  Russell,  one  of  her 
hats,  a  number  of  original  photographs 
and  a  mass  of  newspaper  and  magazine 
clippings. 

Miss  Faye  is  now  completing  work  in 
her  latest  starring  vehicle,  "Tin  Pan  Alley',' 
a  musical  cavalcade  at  20th  Century-Fox. 

CLASSIFIED 

LARGE  QUANTITY  OF  PROFESSIONAL  CAM- 
ERAS AVAILABLE.  WRITE  FOR  BARGAIN 
BOOKLET.  BURKE  &  JAMES,  INC.,  223  W. 
MADISON   ST.,   CHICAGO,   ILL. 

WANTED   TO   BUY   FOR  CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE. 

AKELEY 
ALSO      LABORATORY      AND      CUTTING 
ROOM   EQUIPMENT 
CAMERA  EQUIPMENT  COMPANY 
1600  Broadway  New  York  City- 

Tel.    Circle   6-5080— Cable  :    CTNEQUIP 

BELL    &    HOWELL,    5  WAY    SOUND    PRINTER. 

CAMERA   EQUIPMENT    COMPANY 

1600   Broadway  New   York   City 

Tel.    Circle   6-5080— Cable:    CINEQUIP 

FOR  SALE:  Combination  16  mm.  and  35  mm.  optical 
printer  very  reasonable.  Will  accept  Bell  it  Howell 
35  mm.  camera  in  exchange.  Address  Box  BD  25. 
International    Photographer,    Hollywood. 

FOR  SALE:  Like  new.  H.C.E.  "Hollywood"  Com- 
bination 35  mm.  and  16  mm.  automatic  one-man 
developing  machine.  Operating  capacity  3000  feet  of 
positive  or  1500  feet  of  negative  per  hour.  Price 
$1250.00.  HOLLYWOOD  CAMERA  EX- 
CHANGE,   1600    N.    Cahuenga   Blvd. 

AKELEY  CAMERA  No.  113.  Pair  2-inch  matched 
lenses  Zeiss  F.3.5 — 654-inch  Cooke  F.3.5  lens,  four 
200-foot  magazines,  tripod.  Case  for  camera,  case 
for    magazines — $550.00.- 

DEBRIE  PARVO  MODEL  L  with  pilot  pins  and 
intermittent  pressure  plate,  automatic  dissolve,  50mm 
Zeiss  F.2.7  Debrie  tripod,  6  magazines  and  case. 
Camera   case,    Debrie   motor — $595.00. 

METAL  DEBRIE  PARVO  MODEL  G.  automatic 
dissolve  50mm  Zeiss  F.3.5.  Tripod,  6  magazines 
and    case.     Camera    case — $250.00. 

UNIVERSAL     CAMERA     with     automatic     dissolve. 
50mm     Hansel)    .V     Lomh    F.3.5    lens,    three    .'110  foot 
magazines,    Pan    and    tilt    tripod — $90.00. 
MOTION  PICTURE  CAMERA  SUPPLY,  INC 

723   7th   Ave.,   New   York   City  BRyant   9-7754 


28 


Intkknational  Photograph kr  for  January.  1941 


J.  E.  BRULATOUR,  INC. 

Extends  to 

THE  CINEMATOGRAPHERS 

of  the 

Motion  Picture  Industry — 

Good  Will 

and 

Good  Wishes 

for  a 

SUCCESSFUL 
HAPPY 
PROSPEROUS 
NEW  YEAR 


J.  E.  BRULATOUR,  Inc. 

DISTRIBUTORS 


i»Ki;i;>n\i;\  i 


ALL  three  Eastman  negative  films  make 
important  coiitribiitions  to  the  startling 
beauty  of  today's  screen  productions.  Un- 
varying dependability  and  wide  latitude 
make  them  the  established  favorites  of 
critical  cameramen.  Eastman  Kodak 
Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  little  liuht  is  uvuilable 

BACKGHOUXD-X 

for  buelturounds  and  aenerul  exterior  work 

EASTMAN  NEGATIVE  FILMS 


FebRUARy,  1941 


25  CENTS 


t 


SUPERIOR-1 


MINUTES 


i  i r 


LOS     EXPOSURE     (REL) 


24  30 


TYPE 


104 


A     NEW     FILM     —     Finer    Grain 

For     exterior     and 
background     cinematography 


Superior-1  (type  104)  sets  a  new  mark  for  fine  grain 
quality  in  a  panchromatic  film.  Prints  made  from  it 
have  greater  resolving  power  and  perceptibly  better 
definition.  This  improvement  commends  Superior-1  for 
the  making  of  background  negatives  in  particular  and  for 
all-around  exterior  use  in  general. 

The  speed  of  this  film  is  entirely  adequate  for  well 
illuminated  subjects.  Like  other  Du  Pont  Cine  Negatives, 
it  possesses  a  wide  exposure  latitude,  a  well  balanced 
panchromatic  color  response  and  good  non-halation  pro- 
tection. The  developing  characteristics  are  normal.  The 
curves  and  20  diameter  grain  enlargement  reproduced 
above  were  obtained  by  processing  Superior-1  in  a  stan- 
dard borax  developer,  formulated  for  machine  use. 
Du  Pont  Film  Manufacturing  Corporation,  New  York. 
(Smith  &  Aller,  Ltd.,  Hollywood.) 


CINE 


FILM 


FILTER 

.   FACTORS 

Filter 

'Times" 
Factor 

"Stop" 
Factor 

Aero  - 1 

2.0 

1 

Aero -2 

2.5 

1M 

21 

3.2 

1V2 

23A 

5.0 

2H 

25A 

10.0 

3M 

29F 

16.0 

4 

12 

2.5 

13-4 

15G 

3.2 

iy2 

56 

3.5 

i% 

3N5 

4.0 

2 

5N5 

6.3 

2V2 

25ND 

1.8 

1 

50ND 

3.1 

Wi 

75ND 

5.6 

2Vl 

100ND 

10.0 

3M 

Vol.  XIII 


International 
phoToqRAphER 

February,  1941 


No.  1 


On  the  Cover 

"Tobacco  Road,7'  Powolny  &  Kornmann.  See  also  pages  3,  4,  5,  6,  7 

LEADING  ARTICLES  IN  THIS  ISSUE 

Tribute  to  the  Model,  Mortensen — Page  3 
Negative  Exposure,  Norwood — Page  8 
Candid  Photography,  Starre — Page  16 
Very  too  Happy,  Please,  Dela plane — Page  18 

PICTORIAL  FEATURES 

"Tobacco  Road,"  Powolny  and  Kornmann — Pages  3,  4,  5,  6,  7 
"Cheers  for  Miss  Bishop,"  Wallace — Pages  13,  14,  15 
"Legacy"  with  Ratoff  in  Action,  Gold — Pages  16,  17 
"Sentinels  of  the  Dawn,"  Hoke — Page  10 

REGULAR  DEPARTMENTS 

They  Say,  Rella — Page  19 
Patents,  Fulwider — Page  20 
16mm  Department — Pages  22,  23 
Trade  Winds — Pages  24,  25 
Television — Pages  26,  27 
Books— Page  28 


Editor,  Herbert  Allek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical   Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CAIDWEU 


GOERZ 


KINO-HYPAR 
LENSES 

t       f:2.7  and  f:3 

t  for  regular  and  color 
movies  of  surprising 
quality.  High  chromatic 
correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 
in  suitable  focusing  mounts  to  Amateur  and 
Professional  Movie  Cameras. 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free    FOCUSER 
and    FIELD    FINDER    CONTROL 

for   Filmo    121    and   Simplex-Pockette,    no    more 
off-center  pictures,  magnifies  4  and  8x. 
For    Detailed    Information    Address 
Dept.  IP  2 

C.  P.  Coerz  American  Optical  Co. 

317    East   34th   St.,   New   York  t 

American    Lens    Makers    Since     1899 


Subscribe  NoW 

INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A.,  $3.00  in  Europe  and  Canada 


Efficient  Courteous 
Service 

u 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

■ 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


International  Photographer  for  February.  1941 


"TANYA" 


By  William  Mortensen 


TnibuTE  to  The  mocIeI 


By  WILLIAM  MORTENSEN 


This  month  I  want  to  pay  a  small  tribute 
to  the  forgotten  girl — the  model  who  poses 
for  our  pictures — yours  and  mine.  Seldom 
do  we  give  her  a  thought  after  we  have 
succeeded  in  getting  a  good  print,  but  it 
is  her  hearty  and  self-effacing  collaboration 
that  makes  our  pictures  possible. 

In  the  Elizabethan  era.  tolerant  and  pro- 
gressive though  it  was  in  many  respects, 
women  were  not  permitted  to  appear  on 
Ithe  stage.  It  was  not  until  the  free  and 
easy  times  following  the  Restoration  that 
women  were  allowed  to  tread  the  boards 
|of  the  English  theatre.  These  courageous 
pioneers  had  to  contend  against  intense 
social  projudice.  The  ladies  of  the  the- 
iatre,  in  fact,  were  rated  only  a  little  high- 
er than  the  ladies  of  the  evening.  It  is  only 
; within  recent  memory  that  the  last  of  this 
ancient  prejudice  against  "actresses"  has 
evaporated. 


A  similar  prejudice  has  been  held 
against  those  girls  who  pose  for  artists. 
This  feeling  has  been  particularly  in  evi- 
dence against  those  who  pose  in  the  nude. 
In  Victorian  times,  of  course,  when  virtue 
was  practically  inseparable  from  clothes, 
the  prejudice  was  at  its  strongest.  Some 
people,  unfortunately,  have  not  yet  rid 
themselves  of  it,  and  are  still  convinced 
that  a  girl  who  poses  thus  is  not  quite 
'nice." 

Photographers,  being  more  ignorant  of 
artistic  tradition  than  they  should  be, 
sometimes  make  this  mistake.  A  few  fool- 
ish photographers  of  my  acquaintance 
have  gained  in  wisdom,  I  am  glad  io  say, 
by  having  their  ears  resoundingly  slapped 
down  when  they  assumed  that  a  model 
doffed  her  dignity  along  with  her  clothes. 

A  model  who  poses  in  the  nude  offers 
much,  and  she  is  justly  proud  of  it.    None 


but  a  boor  or  an  utter  ignoramus  would 
do  anything  to  blemish  this  fine  instinctive 
pride.  Pride  in  the  body  has  been  charac- 
teristic of  the  best  and  most  productive 
■i\  ilizations,  so  these  girls  bear  themselves 
like  the  aristocrats  they  are. 

I  have  rather  specialized  in  the  represen- 
tation of  the  nude,  and,  in  the  last  twenty 
years,  I  have  honestly  lost  count  of  the 
scores  who  have  posed  for  me.  But,  in  all 
the  lot,  I  have  never  encountered  anything 
cheap  or  vulgar.  These  girls  have,  with 
the  fewest  exceptions,  been  good  sports, 
eager  and  cooperative  in  the  tasks  assigned 
them,  taking  it  uncomplainingly  on  the 
chin  when  the  lights  were  hot  and  the 
hours  long.  Their  greatest  joy  was  pride 
in  a  job  well  done.  And  they  should  be 
proud:  for  they  bring  us  the  most  vital 
fruit  of  good  breeding,  good  health,  good 
living,  good  manners  and  good  sense. 


UqkriiNq  "TobAcco  roacT 


No  matter  what  inspired  mood  may  have 
helped  a  writer  turn  out  a  perfect  script 
and  what  understanding  a  director  may  put 
into  the  handling  of  the  players  and  the 
scenes,  it  is  still  a  long  way  from  being  a 
perfect  picture  unless  the  work  of  the  cam- 
eraman matches  their  contributions. 

That  this  three-way  artistic  combination 
has  been  reached  is  the  opinion  of  those  at 
20th  Century-Fox  who  have  seen  the  first 
cut  of  "Tobacco  Road."  Nunnally  John- 
son, who  wrote  the  script  and  acted  as  as- 
sociate producer,  and  John  Ford,  who  di- 
rected it,  both  agree  that  the  camera  work 
of  Arthur  Miller  had  a  large  share  in  giv- 
ing complete  realization  to  the  ideas  they 
were  trying  to  portray. 

While  the  bouquets  are  being  tossed  back 
and  forth  amongst  this  triumvirate,  Arthur 
Miller  now  confesses  that  he  had  little  sleep 
during  the  entire  production.  Night  after 
night  he  would  lie  in  bed  worrying  and 
planning  the  next  day's  shots. 

"Everything  in  the  picture  was  entirely 
unorthodox  from  the  cameraman's  point  of 
view,"  Miller  said.  "The  character  work 
in  this  picture  demanded  a  new  set  of  tech- 
nical principles  which  we  had  to  work 
out  as  we  went  along. 

"And  before  we  go  any  further,  I  want 
to  credit  John  Ford  with  a  great  deal  of 
the  success  we  had  with  the  camera  in  the 
filming  of  'Tobacco  Road.'  Any  camrea- 
man   who  has  worked   with   Ford  can   tell 


you  that  his  technical  knowledge  of  the 
camera's  capabilities  and  his  imagination 
makes  the  cinematographer's  job  one  of 
vitally  interesting  teamwork. 

"When  I  say  that  our  methods  were  un- 
orthodox, I  can  mention,  for  instance,  John 
Ford's  idea  of  reversing  the  usual  proce- 
dure in  utilizing  outdoor  light. 

"There  were  sequences  in  the  picture 
which  were  in  a  low  mood,  requiring  a  low 
key  lighting.  For  those  scenes,  Ford  pick- 
ed the  dullest,  cloudiest  days  on  which  to 
shoot  outside.  There  were  many  times  when 
we  worked  indoors  while  the  sun  was  shin- 
ing the  brightest.  About  three  o'clock  in  the 
afternoon  when  clouds  would  begin  to 
cover  the  sun  and  things  turned  gray.  Ford 
would  rush  us  off  the  set  and  spend  the  rest 
of  the  afternoon  getting  outdoor  shots. 

"For  one  sequence  showing  Charley 
Grapewin  and  Elizabeth  Patterson  as  Jeeter 
and  Ada  Lester  on  their  march  to  the  poor 
farm  we  had  a  very  painstaking  camera 
job,  because  bits  of  the  sequence  were 
filmed  here  and  there,  indoors  and  out- 
doors, over  a  period  of  time. 

"Mood  and  character  had  to  be  kept 
consistent.  This  was  one  of  the  low  key 
sequences  where  we  picked  clouds  and  gray 
weather  whenever  we  could  get  them.  Then 
there  were  some  of  the  shots  that  had  to  be 
done  on  an  indoor  set  that  had  to  be  light- 
ed to  match  the  almost  lightless  outdoors." 

One  of  the  biggest  helps  in  the  filming 


of  "Tobacco  Road,"  Miller  admitted,  was 
the  new  camera  recently  developed  and  put 
into  operation  by  20th  Century-Fox.  It 
was  the  use  of  this  camrea  that  allowed 
excellent  results  under  low  light  conditions. 
Its  shutter  opening  of  220  degrees  gave  it 
a  latitude  that  was  not  possible  with  the 
earlier  camera.  Its  coated  lenses  allowed 
shooting  directly  into  sunsets  without  any 
resulting  flares,  and  they  could  have  shot 
into  sunrises  as  well  if  John  Ford  ever  got 
into  the  habit  of  starting  work  that  early 
in  the  morning. 

"Realism  was  the  principal  aim  in  this 
picture,"  Arthur  Miller  said.  "Artificiality 
of  every  kind  had  to  be  avoided,  particu- 
larly in  lighting  and  camera  setups. 

"Not  one  single  closeup,  as  we  generally 
know  it,  was  made  for  this  picture.  There 
were  no  big  heads,  and  the  closest  shots 
made  throughout  the  entire  production 
were  from  the  waist  up. 

"There  was  n6  fancy  movement  of  the 
camera,  and.  as  a  matter  of  fact,  the  cam- 
era rarely  moved  throughout  production. 
Dolly  shots  were  conspicuously  absent  and 
there  was  an  absolute  minimum  of  panning. 

"In  very  few  spots  where  it  was  abso- 
lutely necessary  in  the  telling  of  the  story 
to  follow  the  action  did  the  camera  move 
with  it.  On  the  whole,  the  camera  setups 
were  all  stationary. 

"The  entire  picture,  according  to  John 
Ford's  conception   and   execution,   consists 


International  Photographer  for  February,  1941 


'TOBACCO  ROAD,"  20th  Century-Fox  Production 


Ward  Bond  as  Lov  Bcnsey 
Gene  Tierney  as  Ellie  May 


Slim  Summerville  as  Henry  Peabody 
Zeffie  Tilbury  as  Grandma  Lester 


Stills  by  Powolny  and  Koriiman 


Charley  Grapewin  as  Jeeter  Lester 
Elizabeth  Patterson  as  Ada  Lester 


William  Traey  as  Dude  Lester 
Marjorie  Rambeau  as  Sister  Bessie 


International  Photographer  for  February,  1941 


William  Tracy  as  Dude  Lester, 
Marjorie  Rambeau  as  Sister 
Bessie  and  Slim  Summerville 
as  Henry  Peabody  in  a  scene 
of  bucolic  romance. 


Charley  Grapewin  as  Jeeter 
Lester  and  Ivar  McFadden,  an 
inmate  of  the  poor  farm,  swap 
views  over  the  fence. 


The  cast  of  principals  of  "To- 
bacco Road."  Left  to  right: 
Ward  Bond  as  Lov  Bensey; 
Gene  Tierney  as  Elbe  May; 
Charley  Grapewin  as  Jeeter 
Lester;  Elizabeth  Patterson  as 
Ada  Lester;  William  Tracy  as 
Dude  Lester;  Zeffie  Tilbury  as 
Grandma  Lester;  Marjorie 
Rambeau  as  Sister  Bessie; 
Slim  Summerville  as  Henry 
Peabody. 


of  a  series  of  impressions.  Each  shot  was 
framed,  and  the  action  and  movement  took 
place  within  that  frame.  The  first  shot  of 
the  march  to  the  poor  farm,  which  I  men- 
tioned before,  consisted  of  the  two  figures, 
a  tree,  a  fence  and  the  horizon.  All  inani- 
mate objects  within  the  frame  are  as  im- 
portant in  the  creation  of  mood  and  char- 
acter as  the  actors  themselves  and  are  used 
with  telling  effect." 

Lighting  went  through  revolutionary  in- 
novations in  the  filming  of  "Tobacco 
Road."  The  preponderent  use  of  shade 
was  one  of  the  things  that  caused  Arthur 
Miller  many  sleepless  nights  because  it  is 
very  easy  to  get  bad  photography  with  too 
much  shade.  Keeping  it  from  going  beyond 
bounds  at  any  time  was  Miller's  main 
problem. 

"But  even  a  bad  photographer  cant  get 
a  bad  picture  when  he  works  with  John 
Ford,'  Miller  said.  "He  is  the  best  direc- 
tor for  any  cameraman  to  work  with  be- 
cause he  always  knows  what  he  wants  and 
how  to  get  it. 

"What  interested  me  more  than  any- 
thing else  in  filming  'Tobacco  Road'  was 
the  use  of  one  source  of  light  only  and  the 
minus  of  backlight.  There  could  be  no 
artificiality  with  this  system,  and  the  re- 
sults as  we  viewed  them  in  the  daily  rushes 
were  vitally  interesting. 

"Those  cases  where  we  did  have  back- 
light were  in  outdoor  shots  where  the  main 
characters  and  the  action  were  in  the  fore- 
ground shade  and  the  background  was  in 
the  natural  sunlight.  But  this,  like  the  use 
of  one  source  of  light,  added  to  the  natur- 
alness and  realism. 

"Absence  of  makeup  on  all  of  the  char- 
acters, except  Marjorie  Rambeau,  who 
played  Sister  Bessie,  was  a  great  factor  in 
attaining  camera  naturalness." 

It  was  a  very  minimum  of  makeup  which 
Miss  Rambeau  was  allowed  to  use.  and  it 
was  checked  carefully  every  morning  by 
Miller  and  his  second  cameraman,  Joe  La 
Shelle.  For  the  first  two  or  three  weeks 
on  the  picture,  Miss  Rambeau  couldn't  gel 
out  of  the  habit  of  using  lip  rouge  with  the 
makeup.  Miller  and  La  Shelle  had  to  re- 
mind her  every  morning  with  the  admoni- 
tion of.  "No  lips.  Miss  Rambeau,"  to  wipe 
it  off  before  she  began  work. 

Not  only  did  the  otherwise  glamorous 
Gene  Tierney  use  no  makeup  in  "Tobacco 
Road."  but  her  face  and  limbs  were  treated 
every  day  to  a  generous  coat  of  dirt.  First 
the  skin  was  rubbed  with  oil  in  order  to 
provide  a  base  for  the  dirt  to  stick  to, 
then  the  dirt  was  rubbed  in  until  it  was 
well  imbedded  in  the  pores. 

The  famous  movie  boner  of  having  a 
backwoods  girl  with  perfectly  coiffed  hair 
was  scrupulously  avoided  when  John  Ford 
ordered  Gene  Tierney  not  to  wash  or  dress 
her  hair  in  any  manner  throughout  the 
entire  period  of  production.  It  was  kept 
stringy  and  unkempt  at  all  times. 

William  Tracy,  who  played  the  role  of 


Dude  Lester,  added  another  touch  of  real- 
ism by  sacrificing  some  expensive  bridge- 
work  and  exposing  the  gap  of  a  missing 
front  tooth. 

"With  realism  extending  into  every  de- 
partment in  the  making  of  the  picture,  the 
total  effect  could  not  have  been  achieved 
if  the  camera  had  not  also  done  its  utmost 
to  match  this  effect  with  its  work."  Miller 
said. 

"We  continually  took  advantage  of 
weather  to  create  mood.  So  far  I  have 
mentioned  mostly  the  filming  of  the  low 
moods  in  the  picture,  but  there  are  many 
comedy  sequences.  For  these,  of  course, 
we  took  advantage  of  bright  sunlight  in 
our  outdoor  shots. 

"It  is  John  Fords  practice  once  he  has 
started  a  sequence  to  follow  that  sequence 
through  to  completion  in  script  order. 
However,  changes  in  weather  many  times 
made  him  suddenly  switch  to  other  scenes 
when  sun  or  the  absence  of  it  made  condi- 
tions just  right  for  certain  lighting  moods 
that  he  wanted  to  get. 

"On  our  main  location  at  Sherwood  For- 
est we  had  two  important  sets.  One  of 
these  was  Jeeter  Lester's  cabin  and  farm, 
and  the  other  was  a  decrepit  old  mansion 
which  had  seen  its  last  good  days  during 
the  Civil  War  period  and  was  now  inhabit- 
ed by  sharecroppers. 

"These  two  sets  were  strategically  situ- 
ated  in   relation   to  the  course   of  the  sun 


and  the  shadows  it  cast.  The  shooting  sche- 
dule was  worked  out  so  that  we  always 
shot  the  cabin  in  the  morning  and  the 
mansion  in  the  afternoon,  at  which  times 
the  light  conditions  were  ideal  for  these 
sets. 

"An  exact  duplicate  of  the  cabin  and 
farm  was  also  built  on  Stage  5  at  the 
studio.  On  this  studio  set  we  filmed  our 
night  shots,  rain  scenes  and  a  few  of  the 
day  scenes  which  we  could  not  get  on  loca- 
tion on  account  of  rain. 

"On  the  outdoor  set,  the  distant  back- 
ground consisted  of  trees  and  low  hills. 
To  match  this  on  the  studio  set  we  had  a 
foreground  fringe  of  trees  and  then  filled 
in  the  background  with  acid  smoke  which 
gave  the  illusion  of  distance." 

Unlike  the  play  by  Jack  Kirkland,  the 
picturization  of  "Tobacco  Road"  took  in 
many  sets,  utilizing  action  and  back- 
grounds which  were  in  the  original  novel 
by  Erskine  Caldwell.  Scenarized  by  Nun- 
nally  Johnson  with  the  accent  on  comedy 
and  entertainment.  Director  John  Ford 
nevertheless  utilized  every  mood,  from  the 
very  high  to  the  very  low.  in  telling  this 
story. 

This  was  the  pattern  which  Arthur  Miller 
and  his  camera  had  to  follow.  What  de- 
gree of  perfection  they  have  attained  will 
be  determined  by  that  ultimate  critic  of  all 
motion  pictures — the  man  who  puts  four 
bits  on  the  line  at  the  box  office. 


Looking  over  the  setup  for  a  street  scene  for  "Tobacco  Road"  on  the  20th  Century  Fox 
back  lot.  Seated  in  the  chair  is  Director  John  Ford  talking  it  over  with  bearded  Charley 
Grapenin  in  the  role  of  Jeeter  Lester.  In  the  center  background,  with  arms  folded,  is 
Arthur  Miller,  Director  of  Photography.  Paul  Garnett  is  shonn  in  extreme  left  and 
next  to  him,  wearing  sweater,  is  Paul  Lockwood.  The  only  thing  visible  of  Joe  La 
Schelle  is  the  top  of  his  head  behind  the  camera. 


International  Photographer  for  February,  1941 


INEQATIVE  EXPOSURE 


By  CAPTAIN  DON  NORWOOD,  LI.  S.  A.,  Ret'd. 


One  hundred  and  fifty  years  ago,  in 
Southern  California,  the  old  Mission 
Padres  associated  distance  to  be  traveled 
in  a  day  with  the  rate  of  speed  at  which  a 
mule  traveled.  The  missions  located  rough- 
ly 25  to  30  miles  apart  stand  as  evidence 
of  this. 

In  a  later  period  when  there  were  roads 
of  a  sort,  and  horses  and  coaches,  stan- 
dards of  the  distance  to  be  traveled  in  a 
day  were  changed  and  extended.  Today, 
an  automobile  will  cover  five  or  six  hun- 
dred miles  easily  in  a  day,  while  an  air- 
plane will  cross  the  continent  in  the  same 
length  of  time.  Again  the  standards  have 
changed.  Time  moves  on,  and  as  it  does, 
men's  standards  in  various  fields  of  activ- 
ity change  and  progress.  This  is  true  in 
the  photographic  field  of  the  standards  set 
up  for  negative  exposure. 

Thirty  years  ago  if  a  negative  carried 
an  image  at  all  it  was  considered  passable. 
The  image  might  be  very  dense  from  over- 
exposure, or  very  thin  from  underexposure. 
The  laboratory  people  would  try  to  doc- 
tor it  up.  It  could  be  further  juggled 
around  when  it  came  time  to  make  a  print. 
Anyway  it  got  by  somehow. 

About  seven  years  ago  the  advent  of 
photoelectric  brightness  meters  occurred. 
Brightness  meters  being  those  which  meas- 
ure the  light  reflected  from  a  scene.  These 
meters  were  a  big  factor  in  changing  the 
standards  of  negative  exposure.  By  the 
use  of  these  meters  it  became  possible  to 
so  expose  negatives  that  the  entire  image 
density  range  of  all  normal  scenes  would 
lie  on  the  straight  line  portion  of  a  char- 
acteristic H.  &  D.  curve.  It  was  still  neces- 
sary, of  course,  to  adjust  printing  expos- 
ures to  compensate  for  variations  in  nega- 
tive image  densities. 

Now  the  time  has  come  when  it  is  pos- 
sible to  move  on  to  still  higher  standards 
of  negative  exposure.  This  is  made  pos- 
sible through  the  development  of  a  new 
photoelectric  meter  known  as  a  "Prevail- 
ing-Illumination" meter. 

Negatives  exposed  under  the  control  of 
this  meter  are  so  precise  that  all  may  be 
printed  within  a  very  narrow  range  of 
printing  exposures.  Assuming,  of  course, 
that  processing  is  maintained  at  a  high 
level  of  constancy. 

The  principle  on  which  this  new  meter 
operates  will  be  described.  Let  us  first 
i  onsider  a  photographic  scene.  To  a  pho- 
tographer, a  photographic  scene  may  be 
defined  as  follows:  "A  complex  array  of 
assorted  brightness,  emanating  from  var- 
ious  sized  areas,  located  at  varying  dis- 
tances from  the  camera;  further  compli- 
cated by  the  clfccls  of  color." 

Consideration  of  this  definition  will  lead 


one  to  realize  what  a  tough  proposition  a 
brightness  meter  is  up  against.  Of  all  ihose 
brightnesses  in  a  scene,  which  should  be 
measured?  How  much  weight  should  be 
given  to  each  measurement  when  balancing 
them  off  to  arrive  at  a  significant  figure 
for  the  exposure?  What  about  contrast  as 
it  affects  exposure?  What  about  correc- 
tions for  color?  What  about  corrections 
for  distance?    Haze?    Backlighting? 

The  problem  is  a  serious  one  indeed.  A 
careful  and  extended  study  was  made  in 
order  to  discover  if  it  could  not  be  sim- 
plified in  some  way.  This  study  brought 
out  the  fact  that  all  the  brightnesses  in  any 
given  scene  have  one  factor  in  common. 
This  common  factor  is  the  prevailing-illum- 
ination. The  prevailing-illumination  can 
be  measured  by  a  suitably  designed  in- 
strument, and  the  value  so  obtained  can  be 
used  for  exposure  control. 

The  reason  for  the  above  is  as  follows: 
Any  photo  subject  brightness  is  a  product 
of  two  factors,  namely,  illumination,  and 
its  own  reflectance.  Reflectances  remain 
substantially  constant.  Prevailing-illumin- 
ations show  wide  variation. 

The  range  of  diffuse  reflectances  encoun- 
tered in  photographic  subjects  may  extend 
from  that  exhibited  by  black  velvet  at  two 
per  cent,  up  to  that  of  white  velvet  at  eighty 
per  cent.  It  will  be  noted  that  these  values 
of  two  per  cent  and  eighty  per  cent  cover 
a  range  of  1-40.  This  range  of  1-40  fits 
very  easily  into  the  latitude  of  negative 
emulsions  which  is  usually  about  1-125. 

Since  the  range  of  reflectance  can  be 
taken  care  of  by  the  film  latitude,  it  then 
remains  only  to  measure  the  variable,  the 
prevailing-illumination.  With  this  done 
the  lens  diaphragm  and  shutter  time  may 
be  properly  set  to  compensate  for  the 
variable.  In  this  manner  the  group  of  re- 
flectances to  be  found  in  a  scene  will  al- 
ways come  through  onto  the  film  with  the 
same  range  of  values. 

Consider  some  given  scene.  In  one  stu- 
dio it  may  be  lighted  up  to  a  level  of  350- 
foot  candles.  In  another  studio  it  may  be 
lighted  up  to  a  level  of  only  50  foot 
candles.  We  know  that  the  release  prints 
carrying  this  scene  may  be  practically  in- 
distinguishable one  from  the  other.  In 
addition,  the  two  negatives  carrying  the 
scene  may  be  practically  identical  as  re- 
gards densities. 

The  range  of  reflectances  remained  the 
same  of  course  for  both  takes..  On  one 
case  we  had  a  high  level  of  illumination, 
which  was  pulled  down  by  the  camera  ex- 
posure controls.  In  the  other  case  a  low 
level  of  illumination,  of  which  a  much 
larger  percentage  was  passed  by  the  camera 
exposure  controls. 


The  point  which  it  is  desired  to  empha- 
size, however,  is  that  in  order  to  get  per- 
fect negatives  for  both  takes,  the  factor 
which  logically  should  be  measured  is  the 
only  one  which  shows  variation,  that  is, 
the  prevailing-illumination.  The  range  of 
reflectance  constants  will  be  taken  care  of 
by  the  emulsion  latitude.  When  prevailing- 
illumination  is  measured,  and  then  com- 
pensated for  by  the  camera  exposure  con- 
trols, it  will  be  found  that  any  given  sub- 
ject reflectance  will  always  show  up  with 
the  same  density  in  the  negative. 

Consider  a  face  in  close-up  for  example. 
Flesh  tones  have  a  reflectance  of  between 
30  and  40  per  cent.  A  girl's  face  may 
show  a  reflectance  of  40  per  cent.  In  a 
print  this  should  always  show  up  at  about 
the  same  given  density.  When  the  method 
of  negative  exposure  control  described 
herein  is  used  the  face  will  always  show 
up  with  a  constant  density  in  negatives. 
Piecing  these  two  facts  together  will  show 
why  it  is  possible  to  print  all  negatives 
with  a  fixed  printing  exposure,  or  within  a 
very  narrow  range  of  printing  exposures. 

It  is  interesting  to  examine  prevailing- 
illumination  as  such.  All  prevailing-illum- 
inations may  be  classified  into  three  types. 
Examples  of  each  type  may  be  visualized 
if  we  consider  a  white  stucco  garden  wall 
with  sunlight  shining  on  it  through  the 
branches  of  a  tree. 

Type  1  Prevailing-Illumination.  See 
Figure  1 .  In  this  type  the  subject  and 
scene  is  for  the  most  part  in  direct  illum- 
ination from  the  primary  light  source.  The 
wall  has  only  a  few  leaf  and  branch  sha- 
dows on  it.  In  this  case  the  prevailing- 
illumination  is  the  clear  sunlight,  and  that 
is  what  should  be  measured  for  exposure 
determination. 

Type  2  Prevailing-Illuminating.  See 
Figure  2.  In  this  type  shadow  area  fills 
most  of  the  scene.  Only  a  few  shafts  of 
direct  sunlight  strike  through  onto  the 
well.  Or  there  might  be  none.  In  this 
type  the  prevailing-illumination  is  that  ex- 
isting in  the  shade.  Its  value  should  be 
measured  at  the  position  of  the  principal 
subject. 

Type  3  Prevailing-Illumination.  See 
Figure  3.  In  this  type  the  sunlight  and 
shadow  portions  of  the  wall  are  about 
equal  in  area  and  importance.  The  prin- 
cipal subject  is  illuminated  by  patches  of 
both  sunlight  and  shadow.  In  this  case  the 
prevailing-illumination  is  a  mean  between 
the  illumination  value  existing  in  the  sha- 
dows and  that  existing  in  the  direct  light. 
For  exposure  determination  both  should  be 
measured,  and  the  mean  value  determined. 
It  might  be  further  noted  here  that  this 
Type  3  Prevailing-Illumination  is  not  con- 


a 


'        :          II 

Iducive  to  attractive  pictures.  It  is  a  type 
lof  illumination  that  is  avoided  by  good 
photographers  as  being  lacking  in  balance. 
Types  1  and  2  are  much  to  be  preferred 
for  all  normal  pictures. 

Although  the  typical  scenes  described 
are  outdoor  scenes,  the  same  principles 
apply  to  interiors.  For  interiors  the  cine- 
[matographer  will  achieve  a  balanced  il- 
lumination by  arrangement  of  his  lighting 
Jiinits.  Then  when  a  satisfactory  lighting 
[arrangement  has  been  achieved,  the  pre- 
vailing illumination   may   be  measured   at 

■  the  center  of  interest.  The  reading  so  ob- 
Itained  will  be  used  for  exposure  control. 

In  this  matter  of  defining  prevailing-il- 
lumination consider  how  the  human  eye 
(functions  when  viewing  a  scene.  The  eye 
(has  an  automatic  diaphragm.    Under  high 

■  levels  of  illumination  this  diaphragm  stops 
>away  down.  Under  low  levels  it  opens  up. 
i When  viewing  any  given  scene  it  recog- 
nizes the  level  of  prevailing-illumination, 
land  automatically  adjusts  itself  in  accord- 
ance therewith. 

We  can  very  well  follow  the  example  of 
[the  eye  in  this  matter,  because  after  all  the 
ultimate  product  of  all  photographic  effort 
lis  something  that  is  going  to  be  viewed 
'by  the  eye. 

In  order  to  set  the  camera  controls  prop- 
lerly  it  is  necessary  to  have  some  means 
sof  accurately  determining  the  level  of  pre- 
ivailing-illumination.  With  an  instrument 
fat  hand  which  will  accomplish  this  pur- 
:  pose  it  is  possible  to  set  the  camera  con- 
trols to  correspond  to  the  natural  auto- 
matic action  of  the  eyes. 

The  meter  used  for  measuring  the  value 
fof  prevailing-illumination  is  customarily 
used  at  the  position  of  the  subject.  See 
Figure  4.  It  is  pointed  at  the  camera  lens. 
In  this  position  it  acts  as  a  miniature  sub- 
ject. All  light  which  would  be  effective 
in  illuminating  the  subject  for  photogra- 
phic purposes  will  be  accepted  by  the 
meter,  integrated  and  evaluated.  Since 
photo    subjects    are    usually    three    dimen- 


Fie.  3 


sional  objects,  and  illumination  usually 
comes  from  a  three  dimensional  space,  it 
follows  that  the  light  pick-up  surface  of 
the  meter  must  be  three-dimensional  in 
design. 

It  has  been  found  that  a  hemi-spherical 
surface  is  best  suited  to  this  purpose.  See 
Figure  5.  When  properly  oriented  it  pre- 
sents surfaces  in  planes  at  all  angles  that 
are  visible  from  the  camera  position.  These 
surfaces  correspond  to  all  surfaces  of  the 
subject  which  will  be  illuminated  for  the 
camera's  benefit. 

For  outdoor  pictures  where  considerable 
distances  are  involved  it  is  not  necessary 
to  use  the  meter  strictlv  at  the  subject's 
position.  Usually  the  illumination  under 
such  conditions  is  substantially  uniform 
over  considerable  areas.  Under  these  con- 
ditions the  meter  may  be  used  at  any  po- 
sition where  the  illumination  is  compar- 
able to  that  on  the  subject,  right  beside  the 
camera  if  desired.  It  is  only  necessary  to 
see  that  the  meter  is  properly  oriented  with 
respect  to  subject  and  camera. 

The  meter  is  universal  in  use,  function- 
ing equally  well  indoors  or  out,  under  any 
type  of  illumination.  Since  the  principle 
of  operation  of  the  meter  is  sound,  the 
same  method  of  use  is  employed  at  all 
levels  of  illumination,  high  or  low.  The 
meter  will  function  in  exactly  the  same 
manner  under  very  low  levels  of  artificial 
illumination  on  interiors,  and  under  bright- 
est sunlight  outdoors. 

One  model  of  this  meter  was  made  up 
in  triple  range.  The  scale  units  were  se- 
lected to  tie  in  with  the  Weston  system. 
The  meter  then  read  for  full  scale,  0-1000, 
0-100,  and  0-10.  When  using  the  0-10 
scale  it  is  possible  to  read  down  to  .05 
unit.  At  the  other  extreme  of  illumination, 
the  meter  when  pointed  directly  at  the  sun 
at  noon  on  a  summer  day  gives  a  needle 
deflection  of  450. 

Since  this  type  of  meter  measures  il- 
lumination, rather  than  light  reflected  from 
the  photo  subject,  it  is  unaffected  bv  such 


Fig.  4 

matters  as  subject  contrast,  relative  size 
of  light  and  dark  areas  in  a  scene,  chro- 
matic variations  in  a  scene,  distance  from 
subject,  effect  of  haze,  back  lights,  etc.  It 
is  excellent  for  black  and  white  films  and 
ideal  for  natural  color,  due  to  its  high 
precision   qualities. 

Since  illumination  is  always  stronger 
than  light  reflected  from  the  subject  the 
meter  has  more  light  to  work  with,  and  in 
consequence  has  very  great  sensitivity.  It 
is  easily  possible  to  get  significant  readings 
with  the  meter  in  a  living  room  of  a  home, 
where  the  only  illumination  is  the  day- 
light filtering  in  through  the  windows. 
This  feature  of  this  type  of  meter  makes 
it  well  adapted  for  use  in  connection  with 
the  new  highly  sensitive  emulsions  which 
are  now  available. 

It  is  believed  that  the  matter  of  placing 


Fig.  5 


International  Photographer  for  February,  1941 


"Sentinels     of     the     l)awn,,     by     Ira     Hoke. 
Kr«un  Howard  Hughes  Production  "The  Outlaw." 
10 


( Eastman  Infra  Red,  25 A  filler) 


negative  exposure  control  on  a  precision 
basis  will  be  a  double  benefit  to  the  cine- 
matographer.  It  will  assure  the  finest  pos- 
sible negative  quality  for  every  scene  ex- 
posed. And  it  will  allow  the  cinematogra- 
pher  to  release  his  attention  from  the  ex- 
posure problem,  and  exercise  to  the  fullest 
extent  his  unique  talent  as  a  master  artist 
dealing  in  the  medium  of  cinematography. 


Important 
IMoTicc 


For  our  National  Defense  Program.  THE 
UNITED  STATES  ARMY,  will  require 
men  experienced  in  still  and  sound  motion 
picture  production  for  service  in  the  event 
of  emergency. 

The  basic  enlisted  organization  of  the 
G.  H.  Q.  Signal  Corps  Photographic  Unit 
is  now  in  process  of  formation.  We  want 
to  create  a  list  of  qualified  men  who  will 
simply  express  their  willingness  to  serve  in 
this  motion  picture  organization  in  case  of 
complete  mobilization  of  the  United  States 
Army. 

Those  who  have  reached  their  18th  birth- 
day and  those  who  have  not  yet  reached 
their  45th  birthday  will  be  eligible  to  join 
this  organization. 

This  presents  an  opportunity  for  men  in 
the  motion  picture  industry  to  serve,  in 
emergency,  in  the  branch  for  which  they 
are  best  qualified. 

Those  interested  may  register  by  writing 

the  RESEARCH  COUNCIL,  Academy  of 

Motion    Picture    Arts    and    Sciences,    1217 

i  Taft   Bldg.,    Hollywood,   California.      Give 

|  complete    information    on    age,    education, 

present    position,   studio   with   which   con- 

>  nected,  number  of  years  in  motion  picture 

industry,  etc. 

We  will  require  several  men  of  the  fol- 
lowing classifications  to  complete  the  tenta- 
i  tive  organization:   Animation  and  title  su- 
'  pervisors";  camera  repair  supervisors   ( mo- 
;  tion  picture  and  still )  ;  cameramen  (  motion 
picture    and    still)    chemists    (motion    pic- 
ture   and    still    laboratory;    clerks,    cooks; 
editors    ( picture    and    sound )     electricians 
((motion    picture);    laboratory    equipment 
engineers;   laboratory  supervisors    (motion 
picture  and  still)    machinists;   motion  pic- 
ture engineers;  motion  picture  camera  de- 
partment supervisors;  negative  cutters  and 
assemblers,      photographers      (copy      and 
printer)    developers,  projectionists;   sound 
recording  and  re-recording  engineers;   su- 
pervisors; mixers;  maintenance  men,  boom 
operators;  recording  and  re-recording  ma- 
chine operators. 

YOU  WILL  NOT  BE  REQUIRED  TO 
FORMALLY  ENLIST  OR  ENROLL  AT 
THIS  TIME.  This  survey  is  for  the  pur- 
pose of  obtaining  information  on  qualified 
motion  picture  men  willing  to  serve  in 
time  of  national  emergency. 


Tested 
Quality- 

Every  Improvement 
that  has  been  found  to  be 
Practical  by  the 
most  skilled  engineers 
is  incorporated  in  a 

^Mitchell  Camera 


MITCHELL   CAMERA 
CORPORATION 

665  NORTH  ROBERTSON  BLVD. 
WEST  HOLLYWOOD,  CALIF. 

Cable    Address    "MITCAMCO"  Phone    OXford    1051 


ACENC I  ES 
Bell  &  Howell,   Ltd.,  London,   England 
Claud    C.     Carter,     Sydney,     Australia 


Motion   Picture  Camera  Supply  Co. 
New  York  City 
Fazalbhoy,  Ltd.,  Bombay,  India 
D.   Nagase  &  Co.,   Ltd.,  Osaka,   Japan  H.    Nassibian,    Cairo,    Egypt 


International  Photographer  for  February,  1941 


11 


1.  New  "Positive"  Viewfinder 

Magnifies  rather  than  masks  .  .  .  with  any  lens,  fills  entire  finder 
aperture  with  large-size  upright  image  .  .  .  eliminates  eye  parallax. 

2.  New  Viewfinder  Turret 

Enables  Eyemo  user  to  select  matching  viewfinder  objective  unit 
with  same  speed  he  picks  lens.  Convenient.  Fast.  Accurate. 


WHEN  the  shots  come  fast  and 
various,  and  you  must  get  the 
picture  .  .  .  that's  when  you  most 
appreciate  the  versatile  Eyemo. 
For  it's  instantly  ready  to  meet  the 
emergency! 

What  will  you  have?  A  swift 
change  of  lenses?  .  .  .  conversion 
from  100-foot  film  capacity  to  200- 
or  400-foot  magazines?  ...  a  tripod 
mount  or  a  light,  easy-to-handle 
hand  camera?  ...  a  change  from 
electric  to  spring  or  hand  drive? 


...  a  silent  camera  or  a  hookup 
for  sound?  .  .  .  slow  motion  or 
silent  or  sound  speeds?  Whatever 
the  demand,  Eyemo  meets  it. 

Send  the  coupon  now,  and  get 
complete  details  on  this  unsur- 
passed portable  camera.  Do  it  to- 
day. Bell  &  Howell  Company,  1848 
Larchmont  Ave.,  Chicago;  30 
Rockefeller  Plaza,  New  York;  7  1 6 
North  LaBrea  Avenue, Hollywood; 
13-14  Great  Castle  St.,  London. 
Established  1907. 


EYEMO  can  be  equipped 
with  many  accessories  for 
stiti/io  anil  location  work, 
or  it  can  be  stripped  clown 
to  a  li:J>t.  compact,  spring- 
driven  hand  camera. 


PRECISION-MADE    BY 


CONVERT  YOUR   EYEMO 

Eyemo  owners  may  convert  their  Eyemos 
to  include  the  following  new  features  at 
very  moderate  cost.  Write  for  details. 

I  New  "positive"  viewfinder 

I  New  viewfinder  turret 

o  New  flat  base — 2V2  in.  square 

4  Locking  screws  to  lock  each  lens  in  focus 

J  Turret  lock  for  Eyemos  with  offset  turret 

6  Detachable  cord  for  electric-drive  models 


BELL  &  HOWELL  COMPANY  , 

1849  Larchmont  Ave.,  Chicago,  111. 

(   )  Send  details  about  new,  improved  Eyemos. 

I  own  Eyemo  Serial  No 

Am  interested  in  converting  it  to  include 


BELL    &    HOWELL 


12 


"cIieers  For  miss  bishop' 


By  WILLIAM  WALLACE 


In  running  these  pictures  of  Martha  Scott,  the 

editor  offers  the  prediction  that  she  is  the  great- 

I  est  exponent  of  histrionic  art  that  Hollywood  has 

found  in  the  last   five  years.    She  is  the   person 

'  who   would  he  most   comparable   to  Helen   Hayes 

!  and  eventually   will   be   accorded   such   status   by 

the  stage  and  screen  of  this  country. 

(Editor's  Note) 


Richard  A.  Rowland's  production, 
"Cheers  for  Miss  Bishop,"  is  perhaps  the 
most  outstanding  example  of  a  perfect 
welding  of  the  art  of  photography  and  the 
art  of  make-up. 

For  the  finished  work  of  art  in  the  weld- 
ing of  these  two  essentials  considerable 
credit  goes  to  the  director  of  photography, 
Hal  Mohr,  and  to  the  make-up  director, 
Don  Cash. 

As  one  sees  this  picture  unreel  and  wit- 
nesses the  gradual  aging  of  the  players  as 
the  story  progresses  one  cannot  but  be 
strikingly  impressed  by  the  advances  that 
have  been  made  in  both  these  arts  in  the 
last  few  years. 

These  stills  of  Martha  Scott,  taken  dur- 


The  stills  of  Martha  Scott  as  Miss  Bishop,  shown  on  pages  14 
and  15,  are  evidence  of  the  cooperation  that  existed  between  the 
publicity  director,  the  still  cameraman  and  the  make-up  artist. 


ing  the  production  of  the  picture  by  the 
author,  exemplifies  the  task  that  was  ahead 
of  all  concerned  when  Producer  Rowland 
set  out  to  film  a  story  which  called  for 
his  characters  to  age  gradually  in  the  story 
over  a  period  of  sixty  years. 

So  natural  are  each  of  the  characters 
during  the  transition  that  it  is  not  until 
one  leaves  the  theatre  that  he  is  conscious 
of  the  illusion  that  has  been  wrought.  Not 
only  are  those  in  the  profession  singing 
the  praises  of  the  fine  artistic  photography 
and  make-up  manifest  in  the  picture,  but 
the  laymen  who  have  seen  the  film  are 
finding  the  fine  work  a  subject  for  enthusi- 
astic praise.  This  itself  is  truly  unusual 
for  the  average  theatregoer  seems  gener- 
ally to  be  indifferent  to  the  artistic  and 
technical  efforts  that  go  into  the  making 
of  a  film  production. 

In  photographing  these  stills  of  Miss 
Scott,  and  the  same  was  true  of  the  stills 
of  William  Gargan  and  others  in  the  cast, 
the  still  man  had  to  do  a  right  about  face. 

Instead  of  working  for  those  so-called 
beautiful    effects    in    portraiture    from    the 


standpoint  of  lighting  and  composition,  I 
had  to  do  just  the  opposite.  As  Miss  Bishop 
aged  in  the  picture  I  had  to  work  for 
reality,  flattening  the  lighting  to  emphasize 
the  wrinkles  that  the  make-up  produced 
but  which  in  ordinary  photography  one 
would  try  to  hide. 

Here  was  one  of  the  cases  where  the 
stilbnan  had  to  keep  the  retoucher  under 
control. 

Before  the  picture  started  Murphy  Mc- 
Henry,  publicity  director,  and  I  had  num- 
erous conversations  as  to  the  value  of 
depicting  the  aging  character  at  the  ex- 
pense of  quality  in  portraiture,  and  we 
agreed  as  to  the  importance  of  adhering  to 
this  principle. 

After  working  on  seven  pictures  with 
McHenry  as  publicity  director,  I  realize 
and  appreciate  what  the  cooperation  of  the 
publicity  director  means  to  the  still  cam- 
eraman. He  was  always  willing  to  listen 
to  my  problems  with  the  utmost  under- 
standing and  his  help  meant  a  great  deal 
in  enabling  me  to  produce  the  desired 
results. 


%attIe  of  seattIe" 


As  a  part  of  one  of  the  first  demonstra- 
tions of  West  Coast  metropolitan  air  raid 
defenses  the  'Battle  of  Seattle"  recently 
took  place  in  which  Battery  "D,"  205th 
Coast  Artillery  (A.  A. )  set  up  the  Army's 
most  modern  anti-aircraft  guns  in  down- 
town Seattle,  while  in  another  part  of  the 
city  citizens  tried  out  the  West  Coast's  first 
air  raid  shelter.  It  was  a  realistic  show, 
with  attack  planes  diving  on  troops,  warn- 
ing sirens  wailing,  and  men,  women  and 
children  dashing  for  the  sandbagged  bomb 
shelter. 

Photo  shows:  Newsreel  cameramen  who 
covered  the  "Battle" :  Earl  Nelson,  Univer- 
sal Newsreel  ( left )  and  C.  L.  Edwards, 
Paramount  News  ( right )  equipped  with 
gas  masks,  film  planes  overhead  as  local 
citizens  peer  from  Seattle's  first  air  raid 
shelter.  The  shelter,  conceived  by  Hilmer 
Benson  I  wearing  white  shirt),  a  Seattle 
merchant,  is  an  old  wine  cellar,  made  of 
steel  reinforced  concrete  and  banked  with 
sand  bags.  Benson  believes  his  shelter 
would  afford  protection  from  anything  but 
a  direct  hit,  in  the  event  of  an  attack. — 
(Photo  by  Grant  Macdonald,  Wide  World 
Photos.) 


International  Photographer  for  February,  1941 


13 


"CHEERS  FOR  MISS  BISHOP,"  Richard  A.  Rowland  Production 


Reading  across  the  two  pages,  upper:  Martha  Scott  as  Ella  Bishop  at  the  age  of  eighteen;  just  entering  college;  thirty  years  old;  <lr 


By  William   Wallace 


ist  in  gasoline  buggies  at  forty-nine ;  as  the  schoolmarm ;  at  fifty-six;  on  to  sixty-five;  taking  life  leisurely  at  seventy-nine.  See  page  13. 


CAOidid 
PhoToqRAphy 

By  Starre 

Starre  is  a  member  of  Local  659  who  writes 
under  a  pseudonym.  He  will  be  glad  to  answer 
any  correspondence  on   this  subject. 

(  Editorul  Note) 

These  pictures  of  Gregory  Ratoff  in  action, 
ebullient  with  emotion,  telling  the  actors 
how  to  play  a  scene  while  directing  the 
picture,  "Legacy."  were  presented  to  me 
for  perusal  and  accompanied  by  a  request 
that  I  define  candid  photography. 

So  much  has  been  said  on  this  subject 
that  I  hesitate  to  offer  my  opinion  with- 
out feeling  that  someone  will  be  prompted 
to  say,  "So  what!'"  It  is  my  humble  sug- 
gestion that  this  person  understand  that 
opinions  offered  to  constructively  assist 
should  never  be  frowned  upon.  If  the  re- 
sult is  only  to  arouse  interest  and  conver- 
sational tones  that  may  be  heard  in  the 
next  room,  the  objective  base  has  been 
struck  and  the  result  is  only  a  matter  of 
time. 

Some  years  ago  it  was  unorthodox  as 
well  as  an  infringement  on  good  taste  to 
photograph  anyone  not  properly  dressed 
and  posing  in  the  conventional  sitting  or 
standing  position.  With  the  development 
of  cameras  and  film,  discovery  was  made 
that  movement  and  speed  could  be  visual- 
ized photographically.  Following  these  in- 
novations, if  they  may  be  called  such,  there 
came  into  being  the  miniature  camera 
which  enabled  the  photographer  to  dis- 
pense with  the  obvious  in  the  way  of  dis- 
cretion and  take  pictures  whether  or  not 
they  accorded  with  the  subject's  wishes. 
Yet  cameras  and  pictures  have  not  been 
completely  controlling — publicity,  fan  mail 
and  streamline  effects  modernized  in  every 
type  and  form  to  show  people  as  they  are, 
helped  create  a  new  photographic  era. 
Though  perhaps  not  the  best  example,  but 
direct  and  unequivocal,  comparison  might 
be  made  with  the  nudist  who  helps  destroy 
modesty,  be  it  false  or  otherwise. 

The  ice  having  been  broken  with  the  help 
of  such  magazines  as  Life,  Look,  Pix,  Click 
and  many  others,  candid  photography  grew 
to  tremendous  proportions.  The  answer  is 
obvious  to  me.  Demand  controls  supply. 
The  magazines  succeeded  in  influencing 
people,  other  barriers  gradually  were  de- 
stroyed. The  vogue  became  stark  realism : 
shoot  people  as  they  are,  how  they  work, 
the  way  they  really  act,  so  we  can  sec  it 
I Continued  on  Page  27) 

Reading  down:  Scene  from  Columbia  pro- 
duct ion,  "Legacy" ;  Gregory  Ratoff,  direc- 
tor, issuing  instructions  and  judging  from 
his  expression  in  the  lower  picture  those 
instructions  were  carried  out  to  his  entire 
satis  faction. 


16 


Gregory  Ratoff  in  action,  directing  Columbia  production,  "Legacy. 


Stills  bv  Milton  Gold 


Left  to  right:  Talking  it  over;  driving  home  the  thought;  discussing  minute  details;  telling  Warner 
Baxter  what  he  wants;  making  the  players  warm  up;   through  the   finder.     Shot   with  4  by  5   Speed 
Graphic   on   Dupont   Super-sensitive   film. 


International  Photographer  for  February,  1941 


17 


VERy  TOO  llAppy,  plEASE 


Reprinted  from  San  Franeiseo  Chron- 
iele,  Deeember  14,  1940 

By  STANTON  DELA PLANE 

In  a  photographically  correct  scene  and 
with  a  script  rewritten  to  the  tastes  of  the 
newsreel  patrons,  Captain  Leland  E.  Haw- 
kins received  the  highest  decoration  which 
the  Japanese  government  gives  an  alien — 
the  Fifth  Class  Order  of  the  Rising  Sun. 

Last  year  Captain  Hawkins'  tanker  Asso- 
ciated picked  up  209  people  from  the  ni- 
trate-fired Bokuyo  Maru.  Yesterday  on  the 
after  sundeck  of  the  Asama  Maru.  at  Pier 
11.  he  was  given  the  red-and-white  stripped 
ribbon  and  ruby  medallion  entitling  him  to 
attend  special  functions  held  for  the  Em- 
peror. 

The  only  witnesses  were  the  press  and 
three  longshoremen  who  were  busy  arguing 
about  the  war. 

As  usual,  the  newsreels  took  charge. 
Re  a range  Scene 

Before  the  participants  had  arrived,  the 
newsreel  men  were  busy  rearranging  the 
scene  and  the  speeches.  A  pair  of  tables 
and  bundled  American  and  Japanese  flags 
were  whisked  away. 


The  fifth  class  was  dropped  from  the 
title  of  the  decoration. 

"Gives  it  more  class,"  explained  the 
sound  men. 

The  hand-rails  were  like  ice  and  every- 
one was  bundled  to  the  ears  except  Captain 
Hawkins  and  Acting  Consul  General  Ichiri 
Kawasaki.  The  Captain  wore  a  blue  suit 
and  the  Consul  wore  diplomatic  morning 
coat  and  striped  trousers.  They  lined  up 
with  ship's  officers  and  consular  attaches. 
Flashlights  began  to  pop. 

Spins    Lenses 

Kluver  of  the  newsreels  slipped  on  his 
head  phones,  spun  his  lenses  and  squinted 
through  the  eyepiece.  The  Consul  looked 
around  for  confirmation  and  then  said  that 
he  was  happy  to  present  this  medal  from 
the  Emperor. 

He  took  the  medal  from  a  black  lacquer- 
ed box  and  hung  it  in  Captain  Hawkins' 
buttonhole. 

Captain  Hawkins  said  to  tell  the  Emperor 
he  was  grateful  and  anyone  in  his  position 
would  have  done  the  same.  The  longshore- 
men began  to  argue  on  the  deck  just  below 
the  microphone. 


""Is  that  your  gang  in  the  hold  said 
one  of  them. 

"What  about  it?"  said  the  winchdriver. 

"They're  screwballs,"  said  the  longshore- 
man. "They  load  that  mail  like  it  was 
hay." 

Yells  "Quiet" 

Kluver  slipped  off  his  headphones  and 
yelled  "Quiet!" 

"Let's  try  it  again,"  he  said.  "Turn  to- 
ward me  when  you  say,  "and  I  feel  anyone 
in  my  position  and  so  and  so'." 

"I'm  cold,"  said  Captain  Hawkins.  The 
Japanese  all  smiled  politely. 

"Please  give  my  thanks  to  the  Emperor 
and  I  feel" — the  medal  fell  off  his  coat. 
The  Captain  juggled  it  back  into  his  but- 
tonhole and  continued — "I  feel  that  anyone 
in  my  place  would  have  done  the  same." 

"You  hesitated,"  said  Kluver. 

"I  know  it,"  said  the  Captain.  "The 
medal  broke." 

Two  still  cameramen  came  over,  fishing 
in  their  bags  for  pliers.  Kluver  pulled  out 
a  pocket  knife.  They  huddled  until  the 
Captain  took  the  medal  away  from  them 
and  put  it  together.  He  put  it  in  his  but- 
tonhole. 


Captain  Leland  F.  Hawkins,  General  Kawasaki  and  party  aboard  Asama  Marn,  where  the  Captain  was  presented  with 
the  Fifth  Class  Order  of  the  Rising  Sun,  the  highest  decoration  the  Japanese  Government  gives  an  alien. 


18 


Photo  In  CLEM  ALBERS 


The  cameras  were  moved  up  to  a  close- 
up  and  the  Captain  repeated  his  speech, 
adding  this  time  that  anyone  would  have 
done  the  same  "where  humanity  is  con- 
cerned." 

The  Japanese  had  quietly  faded  from 
the  deck.  There  was  some  argument  as  to 
whether  the  ruby  in  the  medal  was  real,  the 
majoritv  holding  that  it  probably  was. 

"I'm  cold,"  said  the  Captain. 

"We  reallv  ought  to  tell  what  its  for,'" 
said  Kluver.  They  set  up  the  cameras 
again  and  someone  asked  the  Captain  how 
it  happened. 

"We  were  on  a  return  trip  from  Manila." 
said  the  Captain,  while  the  newsreel  men 
squinted  in  their  eyepieces.  "We  got  an 
SOS  from  the  Bokuro  Maru.  and  we  were 
the  nearest  ship.  When  we  arrived  we 
found  the  lifeboats  and  floating  wreckage 
and  we  took  the  people  aboard." 

"We  ought  to  get  in  something  about  it 
exploded  and  burned  to  the  waters  edge, 
or  something  like  that."  said  Kluver.  "Let's 
do  it  over." 

"It  all  depends  on  whether  you  want  the 
truth   or  a  story,"  said   Captain   Hawkins. 
Grits  Teeth 

A  still  cameraman  asked  Kluver  to  hurry 
it  up.  "You're  holding  up  a  drink,"  he 
complained. 

Under  prodding,  the  Captain  gritted  his 
teeth  and  told  the  staring  camera  that  he 
had  come  to  the  Bokuyo  Maru,  which  had 
fire  in  the  hold,  and  later  exploded  and 
burned  to  the  water's  edge,  in  response  to 
an  SOS.  The  part  about  his  being  the 
nearest  ship  was  deleted. 

It  was  suggested  that  everybody  go  be- 
low for  a  drink. 

"1  guess  there's  no  law  against  it."  said 
Captain  Hawkins  through  chattering  teeth. 
"Where's  my  medal?     I'm  cold!" 


fflBSpEE 


sizes  , 


The  photographer 
who  works  with  large 
negatives  will  appreci- 
ate the  powerful  light 
and  optical  system  of 
Solar  studio  enlargers. 
The  brilliant  project- 
ed image  makes  for 
ease  in  securing  criti- 
cal focus — and  mini- 
mum exposure  time. 
Full  tone  scale  and 
contrast  of  the  nega- 
tive is  reproduced  at  full  value 
See  a  Solar  before  you  buy! 

VALUABLE   ENLARGING 
TREATISE    IP241.    FREE. 


BURKE  &  JAMES,  Inc. 


223    W.    MADISON    ST. 


CHICAGO,    ILLINOIS 


They  sAy* 


©  Earl  Nelson,  Universal  newsreeler  who 
covers  the  Northwest  territory,  looking  over 
Southern  California  and  taking  the  missus 
around  busy  Hollywood. 

•  Willard  \anderveer,  who  collaborated 
with  Joe  Rucker  on  Byrd's  first  expedition 
to  the  South  Pole,  now  with  Pathe. 

•  Kay  Rennaban,  first  cameraman;  Irving 
Rosenberg,  Bill  Abbott,  Don  Anderson,  sec- 
ond cameramen,  and  technicians  Thad 
Brooks,  John  Gustafson  and  Nelson  Cordes 
are  in  Mexico  City  covering  a  genuine  bull 
fight  for  "Blood  and  Sand."  Ironically,  the 
matador  originally  scheduled  to  work  in 
the  picture  was  gored  to  death  previous  to 
the  arrival  of  the  crew. 

•  Reggie  Lanning  occupying  the  berth  of 
first  cameraman  at  Republic  Studios. 

•  Dick  Fryer,  Jimmie  Palmer,  Perry  Fin- 
nerman,  Les  Schorr,  Leo  Hughes  and 
George  Bourne  were  seen  at  Talisman  Stu- 
dios on  the  Feher  musical  shorts. 

•  Joe  Rucker  in  town  covering  Tourna- 
ment of  Roses  activity.  By  coincidence 
Rucker  and  Vanderveer  have  met  for  the 
first  time  in  many  years  on  the  same  job. 

•  Dan  Fapp,  second  cameraman.  Para- 
mount, is  the  father  of  a  newly  arrived  son 
whose  aspirations  undoubtedly  will  be  to 
direct  what  dad   photographs. 

•  Charles  Chaplin  is  to  be  commended  for 
his  expression  of  good  will  to  Local  659. 
Chaplin  permitted  Rollie  Totheroh  to  use 
the  words  I.A.T.S.E.  after  his  name  on  the 
program. 

•  Joe  Citron,  asistant  cameraman  at  Co- 
lumbia Studios,  holds  the  degree  of  P.H.C. 
from  the  University  of  Southern  California. 

•  Members  of  Local  659  are  happy  to 
know  that  stillman  Sherman  Clark's  wife 
is  recovering  from  a  very  severe  operation. 
©  Cliff  Shirpser  surprised  us  by  staving 
only  five  or  six  days  at  Cedars  of  Lebanon 
Hospital  to  recover  from  an  appendix  oper- 
ation. Cliff  says  he  will  be  looking  for  a 
long  engagement  to  make  up  for  the  costly 
short  one. 

©  Vic  Milner  at  Universal  Studios  after 
seventeen  years  at  Paramount.  He  will  con- 
tinue his  fine  record  in  his  new  home. 
©  Alfred  Harvey  back  in  Hollywood  after 
working  with  Hurrell  at  his  special  studio 
in  the  Waldorf  Astoria  Hotel.  New  York 
City.  Al  tells  us  how  brother  Hurrell  did 
Washington's  political  persons  and  the 
New  York  blue  bloods  in  his  inimitable 
style,  creating  nothing  short  of  a  sensation 
among  New  York's  distinguished  photo- 
graphers. Strange  to  say,  the  work  of  an 
ace  cameraman,  as  a  rule,  implies  motion 
picture  work:  vet  Hurrell's  still  camera 
work  means  more  to  many  eastern  lights 
than  anv  of  our  ace  cameramen  in  Holly- 
wood. The  camera  enthusiast  and  movie 
fan  only  knows  an  ace  cameraman  as  one 


By  RELLA 

who  stands  and  directs  the  photography  in 
Hollywood.  Such  is  the  difference  of  opin- 
ion on  who's  who  in  the  photographic 
world. 

©  Dewey  Wrigley  and  Lothrop  Worth  off 
for  Havana,  Cuba,  and  it  is  rumored  that 
their  destination  is  Lisbon,  Portugal.  Prob- 
ably if  the  world  were  at  peace  members 
of  Local  659  would  really  be  traveling  to 
all  parts  known  and  unknown. 

•  Manuel  Corral,  Schlesinger  Studios, 
was  an  all-round  athlete  and  baseball  play- 
er at  Loyola  College. 

©  William  Collins,  asistant  cameraman, 
reports  for  duty  in  the  National  Guard, 
State  of  California,  shortly. 
©  Joe  Novak,  second  cameraman.  Repub- 
lic Studios,  is  known  to  his  friends  as 
"Crooked  Arm"  because  of  his  pitching 
prowess  utilized  sometime  ago  at  Chatta- 
nooga Baseball  Club  and  also  in  Flint, 
Michigan,  playing  ball. 

•  Jobn  McBernie,  second  cameraman,  Re- 
public, played  in  the  outfield  for  the  old 
Vernon  Baseball  Club,  Los  Angeles. 

•  Ray  Flinsky  is  a  linguist  according  to 
the  Christmas  card  he  sent  out. 

©  It  is  not  often  that  any  single  camera- 
man is  paid  tribute  to,  as  this  column 
writes  news  as  only  such.  However,  we 
cannot  omit  comment  concerning  Leon 
Shamroy,  whose  great  interest  seems  to  be 
in  rendering  help  to  those  in  Local  659. 
He  is  found  constantly  pondering  and 
wondering  how  an  individual  organization 
can  substantially  aid  the  cameramen  who 
find^  themselves  without  work.  The  spirit 
of  Shamroy  is  admirable  and  we  feel  that 
his  efforts  eventually  will  result  in  some 
progressive  plan. 

©  George  Dye  and  Tommie  Morris  each 
have  a  pair  of  twins. 

©  Roy  Kluver  announces  the  release  of  a 
new  star,  William  Conrad  Kluver.  pro- 
duced by  Mr.  and  Mrs.  Roy  Kluver. 
©  Jack  Smith,  first  cameraman;  Kymye 
Mead  and  Josiah  Roberts,  operators:  Matt 
Klusnick,  Ken  Meade  and  Frank  McDon- 
ald, assistants;  and  Frank  Bjerring.  still 
man,  leaving  for  Sun  Vallev  for  MGM. 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and  Black  and   White  Printers,  Re- 
winds. 
Special   Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Holly-wood,  Calif. 

Cable    Address:     "CIINEBARSAM" 


International  Photographer  for  February,  1941 


19 


PflTCIITS 


By  ROBERT  W.  FULWIDER 

Patent  Attorney,  Los  Angeles 

No.  2,224,901— Camera  Dolly.  Harry  G. 
Cunningham,    assignor    to    Radio    Keith 
Orpheum  Corp.    Appln.  July  20.   1937. 
10  claims. 
A    camera    dolly    having    a    substantially 
horizontal  frame  plate  with  a  screw  adjust- 
ed   column    in   the   center    and    a    counter- 
balanced camera  boom  mounted  on  top  of 
the  column. 

No.  2,224,947 — Film  Processing  Appara- 
tus. Jesse  M.  Blaney,  assignor  to   Cin- 
audagraph      Corp.,      Stamford,      Conn. 
Appln.  Feb.  21,  1938.    16  claims. 
A    machine    for    processing    a    continuous 
length  of  film,  and  making  use  of  a  series 
of  loops  of  constant  length,  with  a  loop  of 
variable  length  adapted  to  provide  a  con- 
stant tension. 


No.    2,225,035 — Projection     Apparatus. 
Alan    A.    Cook,    assignor    to    Bausch    & 
Lomb    Optical    Company.     Appln.    Dec. 
31,  1938.  2  claims. 
A   projector   for   projecting   pictures   to   a 
screen  below  the  projector,  the  latter  hav- 
ing a  horizontal   lamphouse  with  a  prism 
for  deflecting  the  light  downwardly. 

No.  2,225,219 — Filter  and  Sound  Gate 
Mechanism.  Oscar  J.  Holmes,  Chicago, 
111.  Appln.  May  28,  1937.  9  claims.  . 
A  film  driving  means  which  is  driven  by  a 
shaft  to  which  is  attached  a  flywheel  which 
alone  drives  the  shaft,  the  flywheel  being 
coupled  to  the  source  of  power  in  a  man- 
ner that  prevents  the  flywheel  from  exert- 
ing a  driving  reaction  on  the  coupling. 

No.  2,226,188 — Speed  Control  Assembly. 
Otto  Wittel,  assignor  to  Eastman  Kodak 
Co.  Appln.  Feb.  3,  1939.  13  claims. 
A  centrifugal  governor  adapted  to  operate 
at  a  plurality  of  predetermined  speeds. 
with  a  brake  member  adapted  to  be  moved 
to  a  position  corresponding  to  the  speed 
selected. 

No.  2,226,339  —  Three-Color  Film  and 
Method  of  Makinc  Same.  William  T. 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


EASTERN 


headquartersi  RENTALS  *  SALES  *  SERVICE 


FOR  THE 

CAMERAMAN 


PtoLaiAdOtuU  Studia  and  Cutting  Roam.  ZquipmetU 

Available  At  All  Times 


*  MITCHELL  —  Standard,  Hi-speed,  Silenced  and  N  C  Cameras  * 

*  BELL  &  HOWELL  —  Standard,  Hi-speed,  Process  and  Eyemo  Cameras  * 
•k  WALL  —  Latest  Model  Single  System  Sound  Cameras  * 

*    FEARLESS    BLIMPS,    FEARLESS    and    RABY 

FANORAM    DOLLYS.    FRICTION    and    GYRO    TRIFODS    * 
INTERLOCK.   SYNCHRONOUS,   HI-SPEED   and  VARIABLE    SPEED  MOTORS  with  TACHOMETERS 
*    3Smm    DOUBLE    SYSTEM     RECORDING    EQUIPMENT    * 

*  COOKE    SPECD    FANCHRO    and    ASTRO    FAN    TACHAR    LENSES 

all    fecal    1 1 1  ■  t  h  »  —  F  I  LT  E  R  S    and    LIGHTS    * 

MOVIOLAS    +    SYNCHRONIZERS    *    REWINDS 

WE  SPECIALIZE  in  REPAIR  WORK  on  MITCHELL  and  BELL&HOWELL  CAMERAS 


FRANK-ZUCKER 


CABLE  ADDRESS:  CI N EQUIP 


l-AMERA    EQUIPMENT 


1600  BROADWAY  nyc 


CIrcle  6-5080 


Crespinel,    assignor    to    Cinecolor,    Inc. 

Appln.  Jan.  3,  1938.  9  claims. 
A  process  for  producing  a  colored  photo- 
graph which  includes:  Producing  two  sup- 
erimposed positive  silver  images  on  a  pho- 
tographic film;  converting  said  images  to 
a  blue  metallic  salt  capable  of  reacting 
with  dimethylgloxime  by  treatment  with 
solutions  containing  a  soluble  ferricyanide, 
a  soluble  ferric  salt  and  a  soluble  nickel 
salt;  and  converting  one  of  said  images  to 
a  magenta  color  by  treatment  with  a  solu- 
tion containing  dimethvlgloxime. 

No.  2,226,638 — Motion  Picture  Camera. 
Walter    Riedel,    Germany,    assignor    to 
Zeiss   Ikon    Aktiengesellschaft,   Dresden, 
Germany.  Appln.  Jan.  30,  1939.  In  Ger- 
many Feb.  11,  1938.  3  claims. 
A  motion  picture  camera  having  a  pair  of 
vertically  aligned  reels  between  which  the 
film  passes  in  a  substantially  straight  line, 
with  the  lens  located  between  the  reels  at 
their  point  of  least  separation. 

No.  2,226,639  —  Color     Photography. 
Karl  Schinzel,  Czechoslovakia,  assignor 
to  Eastman  Kodak  Co.  Appln.  April  29, 
1937.  In  Austria  May  9,  1936.  5  claims. 
A   process   of  color   photography   making 
use  of  separate  emulsions,  the  one  nearest 
the    support    being    a    silver    bromide   and 
the  one  farthest  away  being  a  silver  chlor- 
ide, which  is  treated  by  a  developer  which 
acts  on  the  chloride  before  a  useful  image 
is   formed  in   the  bromide. 

No.  2,226,971 — Motion  Picture  Camera. 

Leo  Goldhammer,  Germany,  assignor  to 

General    Aniline   &    Film    Corp.    Appln. 

Dec.    10,    1938.    In    Germany    December 

11,  1937.  14  claims. 
A  motion  picture  camera  having  a  norm- 
ally closed  gate  which  is  opened  when  the 
cover  of  the  camera  is  opened,  the  cover 
having  spring  plates  which  bear  against 
the  side  of  the  film  and  push  it  into  place 
as  the  cover  is  closed,  the  gate  closing 
after  the  film  is  in  place. 

No.   2,227,201 — Method   for   Producing 
and    Exhibiting    Sound    Motion    Pic- 
tures. Oscar  A.  Ross,  New  York,  N.  Y. 
Appln.  April  17,  1936.  5  claims. 
A  method   of  producing  foreign   language 
sound  films  by  recording  the  pictures  and 
native  tongue  sequence  on  separate  nega- 
tives, and  then  making  a  foreign  language 
sound    record    of    same    length    and    word 
spacing,    and   combining    the    foreign    lan- 
guage   sequence    and    the    picture    into    a 
single   film. 

No.  2,227,269— Fire   Protection  Device 
for  Motion  Picture  Projectors.  Et- 
win    May,    Wetzlar,    Germany,    assignor 
to  Frank  Dumur,  Lausanne,  Switzerland. 
Appln.  June  3,  1939.  In  Germany  June 
10.   1938.  2  claims. 
A    safety    device    for    motion    picture    pro- 
jectors which  closes  the  dowser  before  the 
motor  is  stopped,  and  starts  the  motor  be- 
fore the  dowser  is  opened. 


20 


WTEX  BEST"  ALL  OX 
EASTMAN  FILM 


EVERY  one  of  the  Ten  Best  Pictures,  se- 
lected in  the  Film  Daily's  critics  poll  for 
1940,  was  made  on  Eastman  Negative 
Films.  This  impressive  record  speaks  for 
itself.  In  1941,  these  exceptional  films  will 
continue  to  contribute  to  the  success 
of  outstanding  screen  productions. 
Eastman  Kodak  Company,  Rochester,  N.Y. 

J.  E.  BRLLATOl  R.  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  SUPEB-XX 

for  general  studio  use  when  little  light  is  available 

BACKGROUXD-X 

for  backgrounds  and  general  exterior  trork 

EASTMAN  NEGATIVE  FILMS 

International  Photographer  for  February,  1941  21 


l6MM.  dcpARTMENT 


The  Chicago  Cinema  Club 

The  Chicago  Cinema  Club,  organized  in 
May  of  1927,  is  typical  of  ihe  numerous 
clubs  and  organizations  of  amateur  cinema 
enthusiasts  in  the  country.  Every  week  on 
Thursday  nights  about  one  hundred  and 
fifty  men  and  women  from  all  trades  and 
professions  get  together  in  the  Lighting 
Institute  in  Chicago's  Civic  Opera  Bldg.  to 
analyze,  tear  apart,  and  reconstruct  the 
various  phases  of  their  common  hobby- 
amateur  movie  making. 

Their  programs  are  varied.  Once  a 
month,  usually  the  night  of  their  business 
meeting,  a  "Film  Analysis"  is  held:  on  an- 
other night,  a  technical  lecture;  one  night 
is  spent  in  their  "little"'  theatre  viewing  pic- 
tures made  by  amateurs  of  other  clubs. 
And  one  night  a  month  includes  a  visit  to 
a  studio,  plant,  lab  or  other  commercially 
engaged  organization  to  see  how  things  are 
done  professionally. 

"Film  Analysis"  night  sounds  like  a  very 
serious,  profound  affair.  While  it  is  se- 
rious in  that  it  gives  an  amateur  a  chance 
to  get  the  opinions  of  others,  it  still  re- 
tains something  of  the  "Fite  Nile"  about 
it — with  everyone  taking  sides!  The  films 
are  screened  and  then  the  meeting  is 
thrown  open  for  discussion  and  criticism. 
In  this  way  he  may  get  the  benefits  of  the 
opinions  of  the  group  on  the  relative  merits 
and  faults  in  his  work. 

One  of  the  most  praiseworthy  activities 
engaged  in  by  the  club  is  under  the  com- 
mittee chairmanship  of  Mr.  Robert  O'Shea. 
This  is  the  "Outside  Activities"  committee. 
Settlement  house,  orphanages,  hospitals, 
or    even    private    individuals    are    singled 

Chicago  Cinema  Clnb 


out  and  films  screened  for  these  people. 

Mr.  S.  J.  Hofreiter  tells  of  his  experi- 
ence with  a  boy  who  had  been  bed-ridden 
for  a  long  time.  This  boy  was  unable  to 
sit  up,  or  even  to  get  into  a  lying  position 
from  which  he  could  look  straight  ahead 
and  see  the  screen.  Mr.  Hofreiter's  solution 
to  the  problem  was  to  place  a  mirror  at  a 
45  degree  angle  a  short  distance  away  from 
the  projector  and  to  shoot  the  image  up 
onto  the  ceiling.  This  involved  turning  the 
film  around  in  the  projector  so  that  the 
picture  could  be  seen  "right  sideto."  And 
in  this  manner  the  entire  picture  was  view- 
ed on  the  ceiling.  Even  by  the  dog.  Mr. 
Hofreiter  tells  of  the  dog  either  tiring  and 
falling  over  on  his  back  as  a  result  of  his 
continued  watching,  or  just  deciding  that 
it  would  be  the  easiest  thing  to  do;  the 
fact  remains  that  the  dog  watched  the 
greater  part  of  the  showing  on  the  ceiling 
lying  down  on  his  back. 

Another  activity  is  the  school  that  is  con- 
ducted for  those  desiring  formal  instruc- 
tion in  amateur  cinematography.  In  con- 
nection with  this  we  wish  to  say  something 
that  we  feel  would  be  of  help  to  all  those 
interested  in  amateur  movie  making  gen- 
erally. One  more  or  less  unfortunate  condi- 
tion exists  in  cinema  work  that  does  not 
in  "still"  photography:  It  is  very  difficult. 
if  not  impossible,  for  the  amateur  movie 
maker  to  process  his  own  film.  Developing 
and  printing  one's  own  film  gives  an  in- 
sight  into  the  workings  of  an  emulsion  that 
cannot  easily  be  had  otherwise.  The  still 
photographer  has  the  advantage  of  being 
able  to  conveniently  develop  his  own  nega- 
tives,  and   to   make   the   prints.   When   the 

By  Warren  Sandage 


resulting  prints  are  not  to  his  satisfaction, 
he  investigates.  Too  much  development. 
An  overtimed  print.  Or  some  other  reason 
for  it.  He  gets  to  the  point  where  his  pro- 
cessing is  correct,  and  then  begins  to  see 
the  defects  in  his  camera  work,  and  is  able 
to  correct  this.  Working  with  his  own  nega- 
tives, or  at  least  in  close  contact  with 
them,  he  is  able  to  follow  through  and  get 
a  closer,  more  intimate  feeling  than  if  he 
had  some  one  else  do  it  for  him.  Now,  it 
is  not  necessary  to  always  keep  doing  one's 
own  processing  to  turn  out  fine  work;  it 
is  just  that  there  is  a  greater  intimacy  with 
the  medium  if  one  has  a  working  knowl- 
edge of  that  medium. 

The  amateur  cinematographer  is  at  a 
disadvantage  there  because  he  uses  reversal 
film  in  the  great  majority  of  cases,  and, 
even  if  he  did  use  negative,  the  cost  of  the 
processing  equipment  would  make  the  ven- 
ture prohibitive.  Amout  the  only  suggestion 
that  could  be  offered  would  be  to  acquire 
a  small  still  camera  and  try  out  the  same 
ideas  with  the  same  type  of  film,  lights, 
etc.  (not  lenses!)  as  used  with  the  movie 
camera,  and  to  develop  and  print  those 
films.  A  lot  could  be  learned  from  that. 

The  club's  president  is  dynamic  Mr.  I. 
Vise.  A  lawyer  by  profession,  we  wonder 
how  he  manages  to  keep  his  mind  away 
from  amateur  movies  during  the  day. 

TkE  Projector 

By  Hamilton  Riddel 

Winter  months  mark  the  beginning  of  a 
busy  season  for  your  home  movie  projec- 
tor. There  will  be  more  than  one  occasion 
at  your  home  when  good  friends  get  to- 
gether, and  they  will  call  for:   Movies! 

So  be  ready  to  give  them  a  show  .  .  . 
a  real  show! 

Nothing  contributes  so  much  to  satisfy- 
ing pictures  as  a  well-cleaned,  smooth- 
running  projector.  So  let's  give  the  ma- 
chine a  close  check-up  to  insure  the  maxi- 
mum results  which  it  is  capable  of  deliv- 
ering. It  would  be  a  good  idea,  too,  while 
you  are  at  it.  to  re-read  the  instruction 
manual.  Then  you  will  be  sure  not  to 
overlook  any  important  points  in  servicing 
your  projector. 

Be  sure  to  oil  your  machine  as  indicated 
in  the  manual.  Don't  use  too  much  lubri- 
cant, for  an  oil-soaked  projector  is  almost 
as  bad  as  one  with  none  at  all.  A  drop 
of  oil,  at  each  lubrication  point,  is  usu- 
al l\  sufficient;  and  wipe  off  any  excess 
that  appears.  Thus  you  prevent  an  ac- 
cumulation of  dust  and  dirt  that  causes 
excessive  wear  in  the  mechanism. 

Next,  your  attention  should  be  directed 
to  cleaning  the  sprockets,  film  gate  and 
claw  -movement.  As  films  thread  their  way 
through  these  passageways,  there  is  a  grad- 
ual accumulation  of  dust,  emulsion  par- 
ticles and  other  foreign  substances  that 
make  your  machine  noisy  and  which  will 
most  assuredly  tend  to  scratch  your  films. 


22 


Such  deposits  can  be  removed  with  a  slight- 
ly moistened  rag  and  discarded  toothbrush. 
Under  no  circumstances  use  a  fingernail 
file  or  knife  in  cleaning  the  film  gate:  you 
can't  afford  to  scratch  or  mar  any  metal 
parts  that  the  film  comes  in  contact  with. 
The  optical  system  of  your  projector 
comes  next.  Make  sure  that  the  silvered 
reflector,  located  directly  behind  the  pro- 
jection bulb,  is  in  proper  alignment  with 
the  lamp,  and  that  it  is  free  of  dust  and 
finger-marks.  You  should  also  polish  the 
projection  bulb.  If  it  is  excessively  black- 
ened through  long  use  or,  as  is  sometimes 
the  case  with  the  higher  wattage  type,  if 
the  bulb  has  a  "heat  blister"  on  it.  you 
will  do  well  to  discard  the  veteran,  in  favor 
of  a  newr  lamp.  Then  proceed  to  the  con- 
denser lens.  Carefully  remove  any  oil.  and 
all  dust,  and  replace  the  lens.  And  lastly, 
remove  the  projection  lens  and  polish  it 
gently.  Careful,  now!  For  optical  glass  is 
relatively  soft,  so  don't  use  too  much 
"elbow  grease"  in  this  operation. 

Do  not  overlook  the  film  aperture  plate 
in  your  servicing.  A  soft  brush,  usually 
furnished  with  most  projectors,  will  wipe 
away  all  unwanted  dust  and  emulsion  par- 
ticles that  have  collected  on  the  plate.  Your 
movies  will  then  be  free  from  fuzzy  border 
lines  that  dance  and  detract  from  the  pic- 
tures on  the  screen. 

Check  carefully  the  various  controls  on 
your  machine  and  don't  overlook  the  take- 
up  reel.  So  often  a  bent  flange  on  such 
reel  stops  the  show,  almost  before  it  is 
under  way,  when  the  film  is  jammed  out 
of  alignment  as  it  feeds  on  to  this  lower 
reel. 

Our  attention  is  next  directed  to  a  typi- 
cal set-up  for  a  home  movie  show  ...  a 
show  which  will  have  all  the  professional 
aspects  of  your  favorite  theatre,  vet  afford 
your  friends  the  enjoyment  of  a  private 
screening,  in  the  comfort  of  your  home. 

Comfortable  visibility  for  your  audience 
is  the  most  important  factor  to  consider 
in  setting  up  for  a  home  movie  show.  Try 
to  avoid  hasty,  crowded  arrangements  that 
make  it  necessary  for  a  number  of  vour 
guests  to  sit  on  the  floor  of  your  living 
room,  as  they  view  the  movies,  ready  as 
are  some  people  to  assume  this  informal 
position  in  spite  of  all  you  say.  Such 
guests  will  only  get  a  poor  impression  of 
vour  pictures,  caused  by  the  distorted  view- 
ing angle  and  uncomfortable  posture  they 
are  in.  Another  thing,  don't  let  your 
friends  sit  too  close  to  the  screen.  You 
can't  expect  compliments  for  your  movie 
efforts  if.  in  such  close  proximity  to  the 
moving  hadows,  your  friends'  eves  are 
dazzled  by  the  gyrations  of  the  millions 
of  particles  of  grain  that  make  up  the 
screen  images. 

Set  your  screen  on  a  level  with  that  of 
the  projector.  Arrange  chairs  well  back 
from  the  screen,  but  in  as  near  a  straight 
line  with  projector  and  screen  as  you  can 
without    interfering    with    the    "throw      of 


the  show.  Your  audience  will  then  be  in 
best  position  to  enjoy  the  movies. 

Provide  a  table  for  your  projector  which 
is  large  enough  to  provide  room  also  for 
the  projection  reels  which  you  are  to  pre- 
sent. Keep  the  reels  in  numerical  order, 
and  out  of  the  humidor  containers,  so  that 
there  will  be  no  hitch  in  your  show.  Ev- 
erything necessary  for  your  presentation 
should  be  at  your  finger-tips,  ready  for 
instant  use,  with  no  time  out  for  fumbling! 

Incidentally,  don't  stop  to  rewind  each 
reel  after  its  presentation,  as  this  practice 
causes  too  much  interruption  in  your  show. 
It  is  far  better — far  easier,  for  that  matter 
— to  leave  all  rewinding  jobs  until  after 
your  guests  depart. 

There's  difference  in  opinions  as  to  how 
dark  a  room  is  desirable  for  a  satisfactory 
showing  of  home  movies.  Manv  people 
favor  a  semi-lighted  room  .  .  .  often  are 
careless  in  allowing  extraneous  light  to 
reach  the  screen.  However,  it  is  the  writer's 
feeling  that  a  room,  in  which  movies  are 
being  projected,  should  be  in  total  dark- 
ness. While  this  requirement  may  be  over- 
looked in  the  presentation  of  regular  black 
and  white  movies,  it  would  appear  to  be 
most  important  factor  in  showing  natural 
color  films.  A  great  part  of  the  gorgeous 
color  renditions,  now  obtainable  on  ama- 
teur film,  are  lost  unless  full  opportunity 
is  given  the  projection  lamp  to  bring  out 
the  colorful  pictures  on  the  screen,  with- 
out undue  competition  from  some  extran- 
eous living  room  light  fixture!  So  again 
we  say  .  .  .  keep  your  home  theatre  dark, 
very  dark,  while  you're  showing  your  pic- 
tures. 

Most  everyone  has  reels  of  mixed  pic- 
tures, some  of  the  regular  black  and  white 
spliced  onto  the  natural  color  variety.  Each 
type  of  film,  viewed  as  an  entirety,  is 
satisfactory,  but  when  immediately  fol- 
lowed upon  the  screen  by  natural  color 
presents  an  unwelcome  studv  in  contrast. 
Many  home  movie  fans  will  overcome  this 
condition  by  tinting  and/or  toning  their 
black  and  white  films.  Nevertheless,  some 
will  not  care  to  trouble  themselves  with 
this  additional  processing,  or  for  one  rea- 
son or  another  thev  will  not  care  to  impart 
a  permanent  tint  to  their  films.  But  there's 
an  easy  way  out,  and  the  answer  is:  Use  a 
selective  color  wheel  in  front  of  your  pro- 
jector lens;  Fashioned  somewhat  like  the 
gelatine  color  wheel  used  on  spotlights  in 
theatre  presentations,  which  give  the  lime- 
lights their  array  of  tinted  lightbeams,  the 
amateur  cinematographer  can  easilv  con- 
struct such  an  attachment,  made  from  small 
bits  of  colored  gelatine  or  colored  glass, 
and  position  the  device  before  the  lens  of 
his  projector.  Thus,  supposing  your  nat- 
ural color  film  has  passed  through  the  pro- 
jector gate,  it  is  only  a  matter  of  a  split 
second  to  swing  your  color  wheel  into 
nos'tion  when  vour  regular  black  and  whit  ■ 
film  follows  along.  With  this  attachment 
you  wont  let  your  audience  down! 

In   presenting  your  movies,  prove  your- 


self a  showman.  Be  sure  to  gauge  your 
audience  well  .  .  .  give  them  the  movies 
you  know  will  click.  And  don't  run  too 
manv  films  The  best  test  for  your  home 
movie  show  is  that  it  ends  with  the  audi- 
ence asking  for  more! 

New  Negative  Filing  System 
For  Miniature  Negatives 

There  is  always  that  controversial  sub- 
ject amongst  35mm  small  camera  users  as 
to  the  method  of  filing  their  negatives. 

For  the  "strip  filers,"  E.  Leitz,  Inc.,  has 
recently  introduced  a  new  filing  system. 
This  consists  basically  of  film  "jackets" 
each  of  which  holds  a  six  negative  strip 
The  "different"  feature  of  the  filing  system 
is  the  fact  that  the  "jackets"  are  made  of 
a  transparent  material  which  is  relatively 
thick  and  which  therefore,  does  not  have 
a  tendency  to  curl.  Another  novel  feature 
of  this  new  film  "jacket"  is  that  it  is  not 
necessary  to  push  the  strip  of  film  in  from 
one  end  in  order  to  insert  it  into  the 
"jacket."  The  Entire  '"jacket"  opens  up 
through  a  "zipper-like"  action. 

New  Kalart  Speed  Flash 

The  new:  Kalart  Compak  Speed  Flash 
works  with  all  low  priced  Kodak,  Agfa 
and  other  cameras  fitted  with  pre-set  auto- 
matic I  self-setting  I  shutters.  Designed  ex- 
pressly for  the  low  priced  midget  bayonet- 
base  flash  lamps  the  Battery-Flector  unit 
of  this  synchronizer  comprises  Kalart's 
popular  Concentrating  Reflector  with  its 
exclusive  bulb  ejector  and  a  built-in  bat- 
tery holder  containing  two  standard  size 
batteries.  The  whole  unit  will  fit  in  your 
pocket — even  with  a  dozen  bulbs! 

Famous  Persons  in  "Sergeant  York'" 

•  Major  General  George  B.  Duncan,  re- 
tired, who  commanded  Sergeant  York's 
World  War  division,  is  the  latest  historical 
figure  to  give  consent  to  his  portrayal  in 
'Sergeant  York,"  which  Jesse  L.  Lasky 
and  Hal  B.  Wallis  are  producing  for  War- 
ner Bros.  General  Duncan  is  living  at 
Lexington,  Va. 

Other  noted  figures  of  the  World  War 
era  who  have  granted  permission  for  their 
screen  appearance  in  the  drama  are  Sec- 
retary of  State  Cordell  Hull  and  General 
John  J.  Pershing.  Howard  Hawks  will  di- 
rect the  production. 


for  difficult  shots  —  THE     ORIGINAL 

Scheibe's  Monotone  Filter 

INDICATES  instantly  how  every  color  and 
light  value  of  a  scene  or  object  will  be  ren- 
dered in  the  finished  print  before  taking 
the  picture.  always  ready. 

GRADUATED  FILTERS 

fW*,)*   mi    MiffcKfMc 
FOG  SCENES,  DIFFUSED  FOCUS  AND  OTHER  EFFECTS 


Gcorqe  H.  Scheibe 

ORIGINATOR  OF  EFFECT   FILTERS 
1927  WEST  78TM  ST.         LOS  ANGELES.  CAL. 


International  Photographer  for  February,  1941 


23 


Brilliantly  engineered  and  as  precise  as  it  is  handsome  is  the  new  Eastman  Kodak  Ektra  35  mm.  Camera.  Interchange- 
able magazine  backs  and  lenses;  precise  range  finder;  local  plane  shutter  of  outstanding  performance;  individual 
adjustments  for  user's  vision;  variable  power  view  finder  for  both  normal  and  long  focus  lenses  and  numerous  other 
technical  refinements. 


TRflDfUJ 


Eastman  Announces  New 
35  mm  Camera 

•  I  If  raided  as  "the  world's  most  distinguished 
camera."  a  deluxe  35mm.  camera,  the  Kodak 
Ektra,  is  announced  hy  the  Eastman  Kodak  Com- 
pany. Rochester. 

Designed  for  the  serious  worker  who  prizes 
quality  and  precision  in  photographic  equipment, 
the  Ektra  includes  as  an  integral  part  of  its  de- 
sign  certain  new  features  never  before  available 
in  any  35mm.  miniature  camera. 

For  this  camera,  six  superb  interchangeable 
lenses  are  announced,  incorporating  new  optical 
techniques  which  insure  a  quality  of  performance 
unequalled  elsewhere.  Focal  lengths  range  from 
35 tn in.  I<p  153mm.,  with  other  lenses  to  come,  and 
a  program  of  fine  accessory  equipment  is  also 
planned. 

Magazine   Backs   Are   New 

A  distinct  departure  in  miniature  cameras,  the 
Svodak  Ektra  is  the  first  to  provide  both  inter- 
changeable lenses  and  interchangeable  Magazine 
Backs  for  35mm.  film.  These  Magazine  Backs 
enable  the  Ektra  owner  to  switch  from  one  type 
of  film  In  another  in  the  middle  of  a  roll,  quickly 
j.nd    without    loss  nt    a   single   frame. 

Other  outstanding  features  of  the  new  Ektra — 
in  addition  to  a  host  ol  minor  refinements — 
include: 

1.     Precise  range  finder,  coupling  automatically 


with  all  focal  lengths  of  Ektra  lenses,  and  equip- 
ped with  an  adjustment  for  individual  vision. 

2.  A  focal  plane  shuter  of  unique  precision  and 
stability  of  performance,  with  speeds  from  1  sec- 
ond  to   1/1000,  and  ••bulb." 

Finder  Sets  jor  Lens  in   Use 

3.  A  variable-power  view  finder  which  sets  b> 
a  simple  dial  for  lenses  of  focal  lengths  from  50 
to  254mm.,  corrects  automatically  for  parallax, 
and  has  an  adjustment  for  individual  vision. 

4.  A  rhythmic  operating  cycle  for  all  major 
adjustments,  with  all  operating  controls  at  the 
finger  tips  of  one  hand,  and  the  other  hand  free 
for  gripping  camera. 

5.  Full  visibility  of  all  scales  and  dials  from 
the  top  of  the  camera  (including  the  direct-read- 
ing depth-nf-field  scale  and  aperture  scale  on 
most  of  the  lenses)  so  that  all  operating  data  are 
available  at   a  glance. 

6.  Rapid  film  advance  and  rewind,  with  a 
visible  indicator  actuated  by  the  film  itself — pro- 
viding a  sure  and  accurate  check  on  film  move- 
ment. Advancing  the  film  simultaneously  resets 
the  shutter   for   another  exposure. 

Rapid  Manipulation,  Clear  Scales 

7.  All  control  dials  designed  with  a  distinctive 
milled  edge  for  rapid,  convenient  manipulation, 
and   marked   in   large,  clear   numerals. 

These   spotlighted   features   are    in    addition    to 


such  technical  refinements  as  an  automatic  ex- 
posture  counter  on  the  Ektra  body  and  a  manual 
sel  exposure  indicator  on  each  Magazine  Back; 
a  visual  signal  which  shows  after  each  exposure 
until  the  film  is  advanced;  positive  prevention  of 
accidental  double  exposures;  a  velvet-smooth  shut- 
ter release  plunger — absolutely  eliminating  re- 
lease  shock — with  a  quick-set  lock  to  prevent  acci- 
dental release;  a  delayed-action  mechanism  for 
self-portraits  and  similar  work,  and  other  features. 
A  neat  brown  cowhide  combination  case  is 
available  for  the  Kodak  Ektra,  to  accommodate 
the  camera  with  lens,  an  extra  Magazine  Back, 
two  extra  film  cartons,  and  several  filters.  All 
Wratten  Filters,  Kodachrome  Filters,  and  the 
Kodak  Pola-Screen  are  available  for  use  with  all 
the  lenses. 

The  Kodak  Ektra  may  be  purchased  with  any 
desired  lens.  Additional  lenses  and  additional 
Magazine  Backs  may  be  purchased  separately  as 
desired.  The  prices  are:  Kodak  Ektra  with  Ektar 
f/3.5,  50mm.,  $235.00;  Kodak  Ektra  with  Ektar 
f/1.9,  50mm.,  S300.00;  Kodak  Ektra  with  Ektar 
f/3.3,  35mm.,  $243.00;  Kodak  Ektra  with  Ektar 
f/3.5,  90mm.,  $260.00;  Kodak  Ektra  with  Ektar 
173.8,  135mm.,  $305.00;  Kodak  Ektra  with  Ektar 
f/4.5,  153  mm.,  $325.00;  Magazine  Back,  indi 
vidually  fitted,  $55.00  (price  includes  fitting  at 
Rochester);  Ektar  f/3.3,  35mm.,  $68.00;  Ektar 
f/3.5,  50mm.,  $60.00:  Ektar  f/1.9,  50mm.,  $125.00; 
Ektar  f/3.5,  90mm.,  $85.00;  Ektar  f/3.8,  135mm., 
$130.00;  Ektar  f/4.5,  153mm.,  $150.00;  Combina- 
tion  Case,  brown  cowhide,  $15.00. 

An  illustrated  lecture,  covering  the  feature* 
and  capacities  of  the  Ektra,  is  now  in  preparation. 
It  will  be  available  for  showings  by  arrangement 
with  the  Camera  Club  Photographic  Service  of 
the  Eastman  Kodak  Company. 


CE.  3-Light  Photo  Enlarger  Camp 

•  Development  of  a  50-100-150  watt  "A  21" 
white  Mazda  Photo  Enlarger  Lamp  designed  to 
provide  amateur  and  professional  photographers 
with  three  intensities  of  light  from  a  single  source 

ha*  ju>t  been  announced  bv  General  Electric's 
lamp  department  al   Nela  Park,  Cleveland,  Ohio. 

For  proper  operation,  the  new  "A  21"  requires 
special  accessor)  equipmenl  which  is  bring  built 
into  new  enlarger*  soon  to  appear  on  the  market 
or   which   should   be   built   into   existing   equipment. 

Chief   among   these  "necessaries"  arc  a  3  contact 

porcelain  socket  and  a  wattage  selection  switch. 

Anion"  outstanding  advantages  claimed  for  the 

new    lamp  an-   tin-  following:    Use  of  the  50-watt 


filament  provides  ample  light  for  the  setting-up 
and  focusing  operations  which  frequently  con- 
sume considerable  time;  the  relatively  little  heat 
produced  by  the  50-watt  filament  permits  leisurely 
setting  up  and  focusing  without  "cooking"  the 
negative;  for  making  exposures,  two  higher  stage* 
of  light  are  available;  one  an  intermediate  in- 
tensity from  the  100-walt  filament  alone,  the 
other  a  much  higher  intensity  of  light  from  use 
of  the  50  and  100-watt  filaments  each  burning  at 
the  same  time.    List  price  60  cents. 

Kalart  Sistogun 

9  Among  newspapers  and  picture  services  now 
using    the    Sistogun    are    listed     Associated    Press, 


World  Wide  Photos,  New  York  Daily  News, 
Acme  News  Pictures.  International  News  Pic- 
tures, New  York  Sun,  Daily  Mirror,  Philadelphia 
Inquirer,  New  York  World-Telegram,  New  York 
Journal-American,  News  Week,  Cleveland  Plain 
Dealer,  Charleston   Observer,   PM. 

Leda  Dubin,  in  charge  of  the  West  Coast  Office 
of  Kalart,  Taft  Bldg..  Hollywood,  tells  us  thai 
during  the  Sistogun  campaign,  the  unit  will  be 
installed  free  of  charge  if  purchaser  will  bring 
in  or  send  his  camera  to  the  Hollywood  office. 

Miss  Dubin  further  informs  our  readers  thai 
any  repairs,  installation  and  service  of  Kalart 
products  are  handled  without  delay  at  the  office 
in  Hollywood.  This  means  a  great  saving  in  time 
for    West    Coast    users. 


24 


Movie  Forest  Fires 

Forest  fires  in  the  movies  are  staged  with 
all  the  precision  of  a  hallet  routine.  The 
star  follows  a  course  through  the  flaming 
woods  that  has  been  charted  as  carefully 
as  a  danseuse's  steps. 

"If  the  actor  loses  his  way,  he's  in  se- 
rious trouble,'  explained  Otto  Brower,  the 
thrill  director  of  Hollywood.  "An  assistant 
sounds  the  alarm  and  the  firemen  rush  in 
with  hoses  to  throw  a  wall  of  water  around 
the  player.  That  seldom  happens,  though, 
since  we  go  through  so  many  rehearsals 
that  he  knows  exactly  where  he  is  going." 

Brower,  who  has  filmed  earthquakes, 
simoons  and  other  catastrophes  for  some  of 
the  movies'  most  exciting  scenes,  has  been 
directing  a  $150,000  conflagration  on  20th 
Century-Fox'  backlot  for  the  last  month. 
The  scenes  are  for  Zane  Grey's  "Western 
Union,"  which  is  being  filmed  in  Techni- 
color. 

The  studio  built  a  forest  that  spread 
over  17  acres.  The  trees  were  real.  Scores 
of  Los  Angeles  property  owners  who  want 
to  clear  trees  out  of  their  yards  telephone 
the  movie  lots  every  week.  The  studios,  if 
they  are  in  need  of  a  forest,  do  the  ex- 
cavating free. 

"We  gave  the  players  asbestos  clothes 
for  the  scenes  where  they're  working  with- 
in a  foot  or  two  of  flames,'  said  Brower. 
"Even  at  that,  it's  dangerous.  Bob  Young 
lost  his  eyebrows  the  other  day.  The  heat 
singed  them  off  before  he  realized  what 
was  happening.  Dean  Jagger  suffered 
minor  burns  when  he  strayed  two  feet  off 
the  course  we  had  set  for  him." 

The  studio  kept  15  firefighters,  two  fire 
trucks,  a  doctor,  two  nurses  and  an  ambu- 
lance standing  by. 

"The  special  effects  men  can  tell  within 
inches  just  how  far  away  the  flames  are 
going  to  leap  from  a  burning  tree,"  said 
Brower.  "They  have  perfected  a  chart 
over  the  years  which  takes  into  considera- 
tion the  wind,  the  humidity  and  the  type 
of  timber.  The  flames  were  within  18 
inches  of  Bob  Young  several  times." 

Burning  wagons  rolled  almost  into  the 
camera  for  "Western  Union,"  which  is  a 
pioneer  story,  and  blazing  pines  fell  a  few 
inches  away  from  the  camera  platform. 
It  will  all  look  on  the  screen  as  though  it 
had  just  happened  that  way  and  yet  a  crew 
of  120  "built"  the  forest  fire  thrills  as  an 
architect  would  a  house,  blueprints  and  all. 

Fox  to  Film  O'Henry  Story 

©  "The  Gift  of  the  Magi,"  often  consid- 
ered the  best  work  of  America's  genius  of 
the  short  story,  O'Henry,  has  been  bought 
from  the  O'Henry  estate  by  20th  Century - 
Fox. 

Jo  Swerling,  who  recently  completed 
"Blood  and  Sand,"  has  been  signed  to 
write  the  screenplay  under  supervision  of 
associate  producer  Robert  T.  Kane.  Actu- 
ally, "The  Gift  of  the.Magi,"  a  short  story, 
will  be  only  the  basis  for  the  motion  pic- 


ture. It  will  provide  the  famous  O'Henry 
snap  ending  for  an  original  plot  devised 
by  Swerling  and  Kane. 

New  Graphic  View  Camera 

For  the  first  time  since  as  far  back  as  anyone 
can  remember,  there  is  something  new  in  view 
cameras.  The  Folmer  Graflex  Corporation  ha> 
just  announced  the  Graphic  View  Camera,  which, 
for  the  first  time,  brings  modern  design,  engineer- 
ing and  production  methods  into  a  field  that  has 
been  long  neglected.  This  new  4x5  camera  is 
made  entirely  of  metal  and  offers  a  unique  com- 
bination of  versatility,  rigidity,  lightness,  and 
simplicity. 

The  front  of  this  camera  rises  three  inches,  tilts 
either  forward  or  backward,  swings  and  shifts 
either  to  the  right  or  left.  Its  back  also  swings, 
tilts  and  shifts.  These  two  in  combination  give 
the  photographer  all  the  adjustments  he  needs  to 
solve  practically  any  problem  of  linear  perspec- 
tive, sharp  field  or  form. 

Its  removable  lensboard  permits  the  use  of  a 
wide  variety  of  lenses.  The  camera  also  accepts 
lensboards  of  the  4x5  and  5x7  Speed  Graphic 
cameras  enabling  Speed  Graphic  lenses  to  be  used 
interchangeably  on  either  camera  without  disturb- 
ing their  flash  synchronizer  adjustments.  A  12]/i>- 
bellows  extension  is  provided.  Ground-glass  focus- 
ing is  available  with  either  "Graphic"  or  "Graflex" 
back. 

A  real  departure  in  view  camera  design  has 
been  employed  in  this  new  camera.  An  inverted 
V-section  bed  of  aluminum  alloy  forms  the  sup- 
port upon  which  both  lens  and  film  may  be 
focused  to  give  complete  control  of  focus  and 
scale  when  working  at  extremely  close  distances. 
Smoothly-operating  rack  and  pinions  which  may 
be  locked  in  any  position  are  actuated  by  large, 
convenient  controls.  This  type  of  construction 
makes  it  possible  to  shift  the  entire  camera  for- 
ward or  backward  to  preserve  camera  balance 
with    heavy    lenses    or    to    prevent    cut-off    when 


working  with  wide-angle  lenses.  It  is  also  one 
big  reason  for  the  camera's  unusual  rigidity,  sta- 
bility and  lightness. 

Built  integrally  with  the  camera  is  a  combined 
camera  base  and  revolving-tilting  tripod  head  of 
which  all  movements  are  controlled  by  a  long, 
accessible  handle.  This  feature  greatly  facilitates 
positioning  the  camera. 

A  built-in  spirit  level  is  provided  on  top  of  the 
camera.  The  reversible  back  may  be  removed 
and  re-positioned  for  either  vertically  or  horizon- 
tally proportioned  pictures.  Built  to  close  toler- 
ances and  with  component  parts  of  great  intrinsic 
strength,  the  new  4x5  Graphic  View  Camera  is 
definitely  a  precision  instrument.  Graflex  dealers 
now  have  it  on  display. 


New  Graphic 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY   DETAIL 


LABORATORY  EQUIPMENT  WILL  BE 
ON  DISPLAY  AT  THE  NEW  SHOW 
ROOM,  IN  CONNECTION  WITH  MY 


~New  Address: 


1515  Cahuenga  Blvd. 

Hollywood,  California 


ART  REEVES 

Cable  address:  ARTREEVES 


International  Photographer  for  February,  1941 


25 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TC  L  C  V 


In  the  beginning  there  were  magic  lantern 
slides.  Then  came  the  dawn.  Silent  motion  pic- 
tures, silent  and  yet  strong  in  their  appeal  to  the 
imagination — an  imagination  that  went  one  better 
and  brought  forth  sound  pictures  which  in  turn 
quickly  raised  an  acoustically  sensitive  proboscis 
and  readily  remedied  an  era  referred  to  as  "the 
smellies."  This  was  accomplished  by  ihe  geniu- 
of  craftsmen  within  the  industry,  many  of  whom 
about  this  same  time  were  silently  working  be- 
hind locked  doors  on  the  perfection  of  a  system 
for  the  immediate  transmission  of  image  and 
sound,  which  we  accept  today  as  of  sufficient 
merit  to  take  a  position  alongside  the  electronic 
arts  of  the  age.    That   is  Television! 

The  year  1941  will  leave  a  definite  impression 
upon  the  pages  of  Television  history.  The  early 
granting  of  many  licenses  by  the  Federal  Com- 
munications Commission  for  the  furtherance  ol 
experimental  activity  is  only  to  be  topped  by 
the  granting  of  commercial  licenses  to  some  fifty 
odd  embryonic  stations  throughout  the  nation. 
Money  and  manpower  sufficient  to  make  this  all  a 
reality  awaits  only  the  granting  of  said  licenses. 
Manpower  that  eventually  will  be  represented  by 
si\  hundred  thousand  strong,  that  being  the  esti- 
mate made  by  David  Sarnoff,  President  ot  Radio 
Corporation  of  America. 

The  furtherance  of  Television  in  Europe  has 
been  frustrated  by  the  tenebrousness  of  war. 
Yet,  an  inkling  to  the  effect  that  Television  has 
been  successfully  employed  in  reconnaissance  ac- 
tivity can  readily  be  taken  for  granted  when  we 
consider  the  fact  that  here  in  America  television 
as  applied  to  military  purposes  is  being  instruct- 
ed to  some  eighty  young  men,  members  of  the 
first  Television  I  nit  to  be  formed  for  that  pur- 
pose, in  the  United  States. 

Under  the  command  of  Captain  William  L. 
Prager,  whose  articles  on  Color  and  Television 
have  previously  appeared  in  The  International 
Photographer,  Television  Unit  No.  1,  of  ihe  Sig- 
nal   Corps.    Military    Order    of   Guards.    U.    S.    A.. 


By  DUSTER  EVANS 

is  a  reality.  A  civilian  training  organization  oper- 
ating by  Act  of  Congress  and  authorized  by  ihe 
War  Department,  is  training  young  men,  and 
men  young  of  mind,  under  competent  instructors, 
the  military  adaptation  of  Television.  With  a 
working  laboratory  of  its  own,  and  equipment, 
Television  Unit  No.  1,  with  headquarters  in  I  lol- 
ly wood,  is  making  Television  history.  The  com- 
pany is  made  up  of  men  from  all  walks  of  life, 
hut  naturally  there  is  a  predominance  ot  men 
from  the  picture  and  radio  ranks,  for  like  its 
predecessors,  television  finds  its  followers  firmly 
planted  in  the  entertainment  capitol  of  the 
world. 

With  Paramount  Pictures  holding  fifty  per  cent 
interest  in  DuMont  Television  and  various  other 
picture  and  radio  interest  financially  set  into  the 
television  picture,  it  is  only  to  be  expected  that 
Hollywood  will  likewise  become  the  Television 
capitol  of  the  world.  It  now  possesses  the  loftiest 
transmiter  in  the  world,  at  an  elevation  of  eigh- 
teen hundred  feet.  Over  twice  that  of  the  Em- 
pire State  Building  in  New  York.  For,  with  the 
inauguration  of  the  new  three-story  Thomas  S. 
Lee  Station,  W6XAO,  atop  of  Mount  Lee,  with 
a  transmitting  radius  of  over  sixty  miles,  Holly- 
wood, and  all  of  Southern  California,  is  soon  to 
be  treated  to  a  form  of  television  entertainment 
not  to  be  surpassed  by  any  one  other  part  of 
the   country. 

Many  other  licenses  have  been  granted  for  the 
experimental  telecasting  in  the  California  area, 
both  south  and  north.  In  the  Los  Angeles  district 
alone  there  have  been  a  sufficiency  to  tax  the  re- 
ception of  the  better  receivers  with  five  channels 
capacity.  Those  licensed  have  been  Television 
Products  (Paramount).  Hughes  Tool  (Howard 
Hughes),  The  May  Company,  LeRoy  Jewelry  Co. 

On  the  receiving  end  there  are  over  ten  dif- 
ferent makes  of  television  receivers  selling  from 
less  than  one  hundred  twenty-five  dollars  for  the 
smaller  picture  area  types,  to  the  largest  DuMont 
combined    Television    and    Radio    receiver    with    a 


First  Television   Unit,  United   States  Army 

1 


picture  area  of  169  square  inches,  and  priced  at 
about  double  of  that  of  the  smaller  sets.  All  in 
all.  when  Television  has  reached  development  cor- 
responding to  the  current  radio  development. 
Doctor  Ortestes  H.  Caldwell,  Editor  of  Radio 
Today,  foresees  a  billion  dollar  sales  volume, 
annually! 

Thus,  predictions  too  become  realities.  Tele- 
vision has  arrived.  It  only  awaits  the  granting 
of  commercial  telecasting  to  set  off  the  spark, 
and  at  a  time  when  wars  and  rumors  of  wars 
seem  destined  to  further  retard  the  rational  and 
sane  efforts  of  our  pioneers  of  vision.  Those  pio- 
neers whose  efforts  have  not  been  in  vain,  to  the 
end  that  radio  and  pictures  (be  they  instantan- 
eous or  filmed)  together,  neither  supplanting  the 
other,  shall  bring  into  the  American  home  and 
theatre  the  last  word  in  entertainment  or  educa- 
tion— TELEVISION ! 

Television  stations  licensed  by  the  Federal 
Communications  Commission:  W9XAL,  Kansas 
City,  Mo.  (First  National  Television,  Inc.); 
W1XG,  Boston  (General  Television  Corp.); 
W9XG,  West  Lafayette,  Ind.;  W2XDR,  Long 
Island  City  (Radio  Pictures);  W3XAD,  Camden, 
N.  J.  (Portable)  ;  W3XEP,  Camden,  N.  J.  (R.C.A. 
Manufacturing  Co.);  W9XK,  Iowa  City,  Iowa; 
W9XUI,  Iowa  City,  Iowa    (University  of  Iowa); 

Renewed  as  of  March,  1940:  W2XAB,  New- 
York  City;  W2XVT,  Passaic,  N.  J.  (Allen  B. 
DuMont  Laboratories,  Inc)  ;  W2XH,  Schenectady, 
N.  Y.;  W6XAO,  Hollywood,  Calif.  (Don  Lee); 
W2XBS,  New  York  City  (N.  B.  C.)  ;  W2XBT, 
New  York;  W2XAE,  Philadelphia;  W3XP,  Phila- 
delphia (Philco)  ;  W9XZV,  Chicago,  111.  (Zenith). 

With  the  government  spending  billions  of  dol- 
lars on  the  navy,  the  army  and  airplanes  for  our 
preparedness  program,  there  also  will  be  needed 
several  thousand  radio  and  signal  men  for  the 
army   and   navy. 

Gaglielmo  Marconi,  Dr.  Lee  De  Forest,  G.  W. 
Pickard.  Edwin  H.  Armstrong  and  Philo  T. 
Farnsworth  perhaps  never  realize  the  many  men 
who  would  receive  work  through  their  inventions. 

Those  wishing  to  enter  this  field  may  secure 
information  by  addressing  the  author,  care  of 
International  Photographer. 


George  H.  Seward,  Television  Pioneer 

Following  is  copy  of  letter  received  from  sub- 
scriber Winslow  Stewart,  Associate  Member  Tele- 
vision Engineers  Institute  of  America,  R-74643, 
"X"  Flight,  R.C.A.F.,  Canada: 

"It  is  with  deep  regret  that  the  writer  notes 
the  death  recently  in  Hollywood  of  George  H. 
Seward,  President  of  the  Television  Engineers  In- 
stitute of  America,  Inc.,  which  organization  he 
founded  and  the  admirable  objectives  of  which 
lie    formulated. 

"Like  most  pioneers  Mr.  Seward  will  be  un- 
able  to  observe  the  culminations  of  past  and  pres- 
(  nt  research  and  development  of  the  television 
ait  in  the  near  and  distant  future,  a  future  in 
which    he   held   such   abounding   faith. 

""Mis  untiring  efforts  during  the  past  many 
years  to  foster  public  interest  in  television  have 
cot  been  wasted  and  should  not  go  unrecognized 
h\  the  Radio-Television  trade  press.  His  name 
and  reference  to  his  television  activities  have  ap- 
peared    in   many   prominent    publications. 

'During  the  past  summer  the  writer  had  ihe 
privilege    of    working    with     Mr.    Seward    as    his 


26 


assistant  in  organizing  and  conducting  the  First 
National  Television  Convention  in  Hollywood. 
It  was  unfortunately  the  last  of  Mr.  Seward's 
series  of  pioneering  efforts  in  the  behalf  of  tele- 
vision; unfortunate  because  he  had  outlined  plans 
for   many   further   efforts. 

"Thus  the  writer  believes  he  speaks  for  all 
those  who  have  had  the  opportunity  to  work 
with  Mr.  Seward  and  be  touched  by  the  spirit 
of  pioneering,  devotion  and  integrity  which  was 
abundantly   his." 

Reprinted  from  S.M.P.E.  Journal 

( Concluded  from  January  issue. ) 

Future  Work — It  is  recognized  that  this 
report  does  not  consider  color.  More  time 
will  be  required  to  investigate  this  phase 
of  the  problem  adequately  from  the  stand- 
point of  flicker  and  visual  fatigue.  Like- 
wise,- more  data  are  needed  on  the  ade- 
quate portrayal  of  smooth  motion  as  a 
function  of  frame  frequency.  It  is  believed 
that  some  additional  work  of  an  experi- 
mental nature  is  desirable  to  determine 
effects  of  certain  of  these  phenomena  in 
the  television  field.  So  far  as  the  work  has 
gone,  there  seems  to  be  a  trend  of  evidence 
pointing  to  the  conclusion  that  television 
will  not  be  on  technically  safe  ground  if 
the  frame  frequency  is  reduced  below  that 
now  in  use  for  motion  picture  work. 
BIBLIOGRAPHY 

O'Brien,  B.,  and  Tuttle,  C.  M.:  "An  Experi- 
mental Investigation  of  Projection  Screen  Bright- 
ness," /.  Soc.  Mot.  Pict.  Eng.,  XXVI  I  May. 
1936),  p.   505. 

Beers,  G.  L.,  Encstrum,  E.  W.,  and  Maloff, 
I.  G.:  "Some  Television  Problems  from  the  Mo- 
tion Picture  Standpoint,"  /.  Soc.  Mot.  Pict.  Eng., 
XXXII    (Feb.,  1939),  p.   121. 

Gricnon,  L.  D. :  "Flicker  in  Motion  Pictures," 
/.  Soc.  Mot.  Pict.  Eng..  XXXIII  (Sept.,  1939). 
p.  235. 

Snell,  P.  A.:  "An  Introduction  to  the  Experi- 
mental Study  of  Visual  Fatigue,"  /.  Soc.  Mot. 
Pict.  Eng.,  XX   (May,  1933),  p.  367. 

Lowry,  E.  M.:  "Screen  Brightness  and  the  Vis- 
ual Functions,"  /.  Soc.  Mot.  Pict.  Eng.,  XXVI 
(May,  1936),  p.  490. 

Hyde,  E.  P.:  "Talbot's  Law  as  Applied  to  the 
Rotating  Sectored  Disc,"  Scientific  Paper  526, 
National   Bureau  of  Standards,  March  1,  1906. 

Dow,  J.  S.:  "The  Speed  of  Flicker  Photo- 
meters," Electrician.  59   (May  31,  1907),  p.  255. 

Ferry,  E.  S. :  "Persistence  of  Vision,"  Amer. 
J.  Science,   144    (1892),  p.  192. 

Porter,  T.  C:  "Contributions  to  the  Study  of 
Flicker,"  Proc.  Royal  Society,  63A  (1898),  p. 
347. 

Porter.  T.  C:  "Contributions  to  the  Study  of 
Flicker"  Proc.  Royal  Society,  70   (1902),  p.  313. 

Lythgoe,  R.  J.,  and  Tansley,  K.:  "The  Adap- 
tation of  the  Eye,  Its  Relation  to  the  Critical 
Frequency,"  Med.  Research  Council,  Special  Re- 
port Series  No.   134,   1929    (Great   Britain). 

Hecht,  S.,  and  Verrijp,  C.  D.:  "The  Influence 
of  Intensity,  Color  and  Retinal  Location  on  the 
Fusion  Frequency  of  Intermittent  Illumination," 
Proc.  Nat.  Acad.  Sci.,   19    (May,  1933),  p.  522. 

Cobb,  P.  W.:  "The  Dependence  of  Flicker  on 
the  Dark-Light  Ratio  of  the  Stimulus  Cycle,"  /. 
Opt.  Soc.  Amer.,  24    (Apr.,   1934),  p.  107. 

Luckeish,  M.,  and  Moss,  F.  K.:  "The  Rate  of 
Visual  Work  on  Alternating  Fields  of  Different 
Brightness,"  /.  Franklin  Inst.,  200  (Dec,  1925), 
p.  731. 

Lythcoe,  R.  J.,  and  Tansley,  K.:  "Relation  of 
the  Critical  Frequency  of  Flicker  to  the  Adapta- 
tion of  the  Eye,"  Proc.  Royal  Society,  Series  B. 
105    (1929),   p.  60. 

Ives,  H.  E.:  "Studies  in  the  Photometry  of 
Lights  of  Different  Colours,"  Phil.  Mag.,  24 
(Sept.,  1912),  p.  352. 


Zworykin,  V.  K.:  "Television,"  Television, 
RCA  Institutes  Press,  I    (1936),  p.  242. 

Kell,  R.  D.,  Bedford,  A.  V.,  and  Trainer, 
M.  A.:  "Scanning  Sequence  and  Repetition  Rate 
of  Television  Images,"  Television,  RCA  Institute 
Press,  I    (1936),  p.  355. 

Ives,  H.  E.:  "Studies  in  the  Photometry  of 
Lights  of  Different  Colours,"  Phil.  Mag.  (Series 
6),  24  (July,  1912),  p.  149. 

Engstrom,  E.  W.:  "A  Study  of  Television 
Image  Characteristics,"  Proc.  I.  R.  E.,  21  (Dec, 
1933),  p.   1631. 

Encstrom,    E.    W. :    "A     Study    of    Television 

Image  Characteristics,"  Part  Two,  Proc.  I.  R. 
E.,  23    (April,  1935),  p.  295. 

Ives,  H.  E.:  "Studies  in  the  Photometry  of 
Lights  of  Different  Colours,"  Phil.  Mag.  (Series 
6),  24    (Dec,  1912),  p.  845. 

Gace.  S.  H.,  anl  Gage,  H.  P.:  "Flicker  with 
Moving  Pictures,"  Optic  Projection.  Comstock 
Pub.  Co.    (Ithaca,  N.  Y.),  p.  423. 

Zworykin,  V.  K.,  and  Mortons  "Television," 
John  Wiley  &  Sons,  Inc.,  N.  Y.,  1940. 

W|lson,  J.  C. :  "Television  Engineering,"  Sir 
Isaac  Pitman  &  Sons,  Ltd.,  London,   1937. 

Wolf,  S.  K.:  "An  Analysis  of  Theater  and 
Screen  Illumination  Data,"  /.  Soc.  Mot.  Pict. 
Eng.,  XXVI    (May,   1936),  p.  532. 

Luckiesh,  M.,  and  Moss,  F.  K.:  "The  Motion 
Picture  Screen  as  a  Lighting  Problem,"  /.  Soc. 
Mot.  Pict.  Eng.,  XXVI    (May,   1936),  p.   578. 

Cobb,  P.  W. :  "Some  Comments  on  the  Ives 
Theory  of  Flicker,"  /.  Opt.  Soc.  Amer.,  24 
(March,    1934),   p.   91. 

Geld\RD,  F.  A.:  "Flicker  Relations  within 
Fovea,"  /.  Opt.  Soc.  Amer.,  24  (Nov.,  1934),  p. 
299. 

Ives,  H.  E.:  "Critical  Frequency  Relations  in 
Scotopic  Vision,"  /.  Opt.  Soc.  Amer.,  6  (May. 
1922),  p.  254. 

Ives.  H.  E.:  "A  Theory  of  Intermittent  Vision," 
/.  Opt.  Soc.  Amer.,  6   (June,  1922),  p.  343. 

Graham,  C.  H.,  and  Granit,  R.:  "Inhibition, 
Summation,  and  Synchronization  of  Impulses  in 
the  Retina,"  Amer.  J.  Physiol.,  98   (1931),  p.  66. 

Creed,  R.  S.,  and  Ruch,  T.  C. :  "Regional  Va- 
riations in  Sensitivity  to  Flicker."  /.  Physiol.,  74 
(1932),   p.  407. 

Hecht,  S.,  and  Verrijp,  C.  D.:  "The  Relation 
between  Intensity  and  Critical  Fusion  Frequency 
for  Different  Retinal  Locations,"  /.  General 
Physiol.,  17  (1933),  p.  251. 

Ghanit,  R.,  and  Hammond,  E.  L.:  "The  Sen- 
sitivity-Time Curve  and  the  Time  Course  of  the 
Fusion  Frequency  of  Intermittent  Stimulation," 
Amer.  J.  Physiol.,  98    ( 1931 ) ,  p.  654. 

U.  S.  Army  Requests 
"Teddy  the  Rough  Rider" 

Twenty-two  prints  of  "Teddy  the  Rough 
Rider,"  Warner  Bros.'  historical  featuret 
staring  Sidney  Blackmer,  have  been  re- 
quested by  the  U.  S.  Army,  for  morale 
and  entertainment  use  in  their  training 
camps. 

Warner  Elevates  Five 
Players  to   Stardom 

%  Jack  L.  Warner,  vice  president  in 
charge  of  production  at  Warner  Bros.,  and 
Hal  B.  Wallis,  executive  producer,  ele- 
vated five  players  to  full-fledged  stardom 
with  a  single  stroke  of  the  pen,  as  a  result 
of  their  work  in  1940  films.  The  fortunate 
five  are  Eddie  Albert,  Brenda  Marshall, 
Dennis  Morgan,  Ronald  Reagan  and  James 
Stephenson. 


CANdid 
phoToqRAphy 

(Continued  from  Page  16) 
the  only  difference  between  human  beings 
is  a  matter  of  money. 

At  the  same  time  it  became  apparent  that 
the  candid  camera  could  tell  a  story,  show 
the  background  from  which  so  much  origi- 
nality is  gone  and  give  the  outsider  an  in- 
sight into  the  other  world.  What  greater 
curiosity  can  one  have  than  to  know  how 
the  other  lives? 

Today  candid  photographv  depicts  im- 
portant personalities  sneezing,  standing  in 
awkward  or  other  positions,  or  doing  this 
or  that,  as  long  as  it  is  a  real  happening 
in  real  life.  So  much  time  and  space  is 
devoted  to  candid  shots  because  of  the  al- 
leged human  interest.  However,  I  am  in- 
clined to  believe  that  it  has  its  cycle  and 
at  present  ranks  high  among  photograph- 
ers. On  the  other  hand,  like  human  life, 
it  has  its  end.  Whether  even  after  its  de- 
parture it  will  have  a  different  effect  of 
doing  away  permanently  with  the  present 
accepted  type  of  photographv  remains  a 
question  to  be  answered  through  photo- 
graphic history. 

Candid  photography  is  characteristically 
not  photography  as  the  artist  sees  it.  There 
are  lacking  all  the  essentials  of  beauty, 
symmetry,  color  balance  and  composition. 
Planning  a  candid  shot  is  momentary. 
Shooting  a  beautiful  still  to  be  hung  on 
the  wall,  or  put  on  a  shelf,  or  use  in  some 
portion  of  the  room,  is  meditated  and 
planned  photography.  A  candid  shot  is 
examined  and  commented  upon  only  once 
as  a  rule,  then  cast  aside  to  be  forgotten. 
Such  is  not  the  case  with  a  beautiful  still. 
Yes,  there  are  exceptions,  but  not  enough 
to  offer  substantial  argument.  Logic  and 
reason  force  us  to  our  conclusions.  Candid 
photography  is  passing  through  a  photo- 
graphic cycle,  perhaps  at  its  half-wav  mark. 

To  photographers  who  labor  industrially 
to  satisfy  a  querulous  public,  my  only  an- 
swer is  to  shoot  candid  photography  and 
fall  in  line  with  the  parade,  make  it  ring 
home,  let  it  live,  spare  the  subject,  prac- 
tice moderation  for  the  sake  of  being  dis- 
creet. Photography,  like  painting  and  mu- 
sic, can  be  deftly  applied.  In  the  motion 
picture  world,  as  the  cinema-addicts  crave 
it,  intimate  close-ups  of  people  at  work, 
be  they  director,  actor,  cameraman  or  elec- 
trician; nature  in  the  raw  photographically 
speaking,  is  the  vogue,  so  to  the  still  cam- 
eraman I  say:  Let  it  be  candid  and  may 
the  portion  not  be  a  war  ration. 

Next  Lupino  Vehicle 

•  Ida  Lupino's  next  picture  at  Warner 
Bros,  studio  will  be  "The  Damned  Don't 
Cry,"  by  Harry  Hervev.  The  story  deals 
with  the  efforts  of  a  girl  to  lift  herself  out 
of  the  environment  into  which  she  was 
born. 


International  Photographer  for  February,  1941 


27 


booh 


Reviewed  by  Ernest  Baehraeh 

"The  American  Annual  of  Photo- 
graphy, 1941,"  published  by  Amer- 
ican   Photographic    Publishing    Com- 
pany, Boston,  Massachusetts.    Paper 
bound  $1.50;  cloth  $2.25.  276  pages 
plus  advertising. 
One  for  the  shelf.    This  annual   is  one 
that  I  would  recommend  purchasing  yearly- 
Profusely  illustrated  from  the  pick  of  the 
pictorial  field.    The  articles  are  written  in 
a  comprehensive  way  by  skilled  craftsmen. 
The  most  interesting  feature  of  the  book 
is  that  the  publishers  have  kept  pace  with 
the  modern  trend,  but  still  retain  all  that  is 
fine  and  wanted  from  the  accepted  art  point 
of    view.     Possibly    this    is    because    they 
themselves  are  accomplished   in   their  line 
of  endeavor. 

Included  are  eighteen  articles  and  of 
special  interest  are  "The  Paper  Negative," 
by  Adolf  Fassbender;  "Color  Photogra- 
phy." by  Joseph  S.  Friedman;  "Making 
the  Most  of  Architecture,"  by  Robert  R. 
Miller.  Hy  Schwartz's  "Photoflash  Pho- 
tography" and  Roy  Gallaghers  "Fluores- 
cent Light  in  Photography"  are  well  worth 
reading. 

Inasmuch  as  this  book  is  so  well  known 
more  need  not  be  said.  It  is  a  good  buy,  on 
sale  at  most  photographic  supply  stores 
and  book  stores. 

"Copying     Technique,"     American 
Photographic    Publishing    Company. 
Boston,  Massachusetts.     Cloth   bound 
$1.50.   128  pages. 
This  textbook,   a   compilation    of   Frank 
R.    Fraprie   and   Robert  H.   Morris,   prob- 
ably was  intended  for  the  unitiated  camera 
enthusiast.    There   are  a   number   of   short 
articles  dealing  with   equipment:    prepara- 
tion  of  work;    black  and  white  and  color 
copying;  the  use  of  infra-red,  ultra  violet. 


etc.,  which  might  well  have  appeared  in 
monthly  articles  as  space  fillers.  Each 
problem  of  copying  has  its  own  solution. 
To  the  average  man  the  book  is  not  worth 
the  price. 

"Modern    Photography,"    1940-41. 
The   Studio    Publications,   Inc.,   New 
York  City.  120  pages,  of  which  103 
are      reproductions.      Paper      bound 
$2.50,  cloth  $3.50. 
A  miniature  edition  of  U.  S.  Camera,  less 
grooved,  but  leaning  toward  "The  cultiva- 
tion," as  the  editor  phrases  it,  "of  modern 
photography."    A  foreword  by  Alexander 
King,    associate   editor   of   Life   Magazine, 
once  more  impresses  us  with  the  fact  that 
raw  and  unbeautiful  truth  is  to  be  desired, 
even  to  the  beauty  of  an  intelligently  cre- 
ated picture  of  a  battered  garbage  can. 

Can't  say  much  for  the  book  at  the  price 
asked  with  such  books  as  the  above  men- 
tioned American  Annual  and  U.  S.  Cam- 
era as  competition. 

"The   Science   and   Technique    of 
Advertising      Photography,"      by 
Walter  Nurnberg.    The   Studio   Pub- 
lications, Inc.,  New  York  City.  Cloth 
bound  $3.50.  94  pages,  illustrations 
and  text. 
Had  to  read  this  book  through  twice  be- 
cause of  the  highly  controversial  text.  One's 
thoughts  on  the  subject  may  not  coincide 
with  the  author's.    As  this  is  an  ambitious 
attempt  to   orient   one   with   a  highly  spe- 
cialized form  of  photography  plus  the  per- 
sonal element,  I  would  say  that  an  excel- 
lent job  was  made  of  it.    This  volume  is 
in   two   parts:    Part   I,   Fundamentals:    and 
Part  II,  Execution.    Part  I  deals  with  the 
photographer  and  his  client;  status  of  ad- 
vertising photography;   light  and  shadow; 
sales  psychology.    Part  II,  still  life,  three 
chapters:   face  and  figure,  three  chapters; 
photo  combinations    ( montages,  etc. )    and 
a    conclusion.     The   illustrations    bear    out 
the  text  to  a  degree.  Be  that  as  it  may,  as 
the   jobs    present   themselves    one   may    be 
better  equipped  to  tackle  them  after  hav- 
ing   absorbed    the    contents    of    this    book. 
One  for  the  shelf,  but  tough  at  $3.50. 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  DoSlies,  zll  Accessories 
CAMERA  CRANE 


DAY- 


-PHONES- 


-NIGHT 


Hillside 
8333 


6313  SUNSET  BOULEVARD 

Near  Vine  Street 

HOLLYWOOD.  CALIFORNIA 


HEmpstead 
1311 


Prop  Coal  Mine 

Twentieth  Century-Fox  has  bought  20 
tons  of  coal  which  it  is  burying  in  the 
hills  30  miles  north  of  Hollywood  so  that 
some  movie  extras  may  sweat  and  labor 
for  six  weeks  mining  it. 

The  studio  is  sinking  a  coal  mine  in  a 
prop  Welsh  town.  It  is  built  at  a  cost  of 
$100,000  for  Darryl  F.  Zanuck's  produc- 
tion of  "How  Green  Was  My  Valley," 
Richard  Llewellyn's  best  seller. 

Since  the  hills  about  Hollywood  never 
saw  any  coal  except  in  smoke  form,  it 
was  cheaper  for  the  studio  to  "plant"  the 
coal  than  to  go  to  the  nearest  mines,  500 
miles  distant. 

Sir  Cedric  Hardwicke  Signed  by  RKO 

©  Adding  another  outstanding  screen  per- 
sonality to  its  powerful  roster  of  Holly- 
wood stars,  RKO  Radio  has  signed  Sir 
Cedric  Hardwicke,  one  of  the  greatest  char- 
acter actors  of  today,  to  a  three-picture 
acting  contract  in  the  company's  program 
for  the  1941-42  season. 

Sir  Cedric  was  for  many  years  a  noted 
stage  figure,  and  has  since  scored  many 
successes  on  the  screen.  His  contract  to 
act  for  RKO  brings  him  back  to  the  lot 
where  he  gave  such  an  outstanding  por- 
trayal of  the  High  Justice  Frollo  in  "The 
Hunchback  of  Notre  Dame."'  His  more  re- 
cent pictures  include  "Victory"  and  "The 
Howards  of  Virginia." 

Charlotte  Greenwood  Awarded 
Major  Role 

Charlotte  Greenwood,  frisky  veteran  of 
the  stage  and  screen,  has  been  awarded  one 
of  the  major  roles  of  her  career — a  part 
almost  completely  devoid  of  comedy. 

The  long-legged  "Letty"  of  the  stage 
will  carry  most  of  the  sympathetic  burden 
in  "Miami,"  an  imposing  Technicolor  musi- 
cal which  is  scheduled  to  go  into  produc- 
tion in  about  three  weeks  with  Betty  Grable 
heading  the  cast. 

Walter  Lang  will  direct  and  Harry  Joe 
Brown  has  been  assigned  as  the  associate 
producer. 

CLASSIFIED 

LARGE  QUANTITY  OF  PROFESSIONAL  CAM 
ERAS  AVAILABLE.  WRITE  FOR  BARGAIN' 
BOOKLET.  BURKE  &  TAMES,  INC.,  22.5  W. 
MADISON   ST.,   CHICAGO,   ILL. 

WANTED  TO   BUY   FOR  CASH 

CAMERAS   AND   ACCESSORIFS 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIK. 

AKKI.KY 

ALSO   LABORATORY   AND   CUTTING 

ROOM  EOUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600   Broadway  New  York  City 

Tel.    Circle   6-5080— Cable :    CINEQUIP 

BELL   &    HOWELL.    S-WAY    SOUND    PRINTER. 
CAMERA   EQUIPMENT    COMPANY 

1600   Broadway  New  York   City 

Tel.    Circle   6-5080— Cable:    CINEQUIP 

FOR  SALE:  Combination  16  mm.  and  35  mm.  optical 
printer  very  reasonable.  Will  accept  Bell  &  Howell 
35  mm.  camera  in  exchange.  Address  Box  BD  25. 
International    Photographer,    Hollywood. 

FOR  SALE:  Like  new.  H.C.E.  "Hollywood"  Com- 
bination 35  mm.  and  16  mm.  automatic  one-man 
developing  machine.  Operating  capacity  3000  feet  of 
positive  or  1500  feet  of  negative  per  hour.  Price 
$1250.00.  HOLLYWOOD  CAMERA  EX- 
CHANGE,   1600    N.    Cahuenga   Blvd. 

MITCHELL  NC  112.  LIKE  NEW.  Up  to  the  min- 
ute. B.  B.  RAY,  300  W.  Durante  Road,  Arcadia, 
Calif. 


28 


Winners 

For  Best  Photography 

As  determined  by 
The  Preview  Poll — 

"HOLLYWOOD  REPORTER" 


Sol  Polito 


DIRECTOR  OF  PHOTOGRAPHY 


Al  Greene 

OPERATIVE  CAMERAMAN 

Frank  Evans 

ASSISTANT  CAMERAMAN 


WARNER  BROTHERS' 
Production 

"Santa  Fe  Trail" 


EASTMAN 

Negative- Sound   Track -Positive 

BRULATOUR  SERVICE 

Processing  By 

Warner  Brothers  Laboratory 
I  FRED  W.  GAGE 


SUPERINTENDENT 


1515  No.  Cahuenga 

Hollywood,  Calif. 


I 


MARCh,  1941 


25  CENTS 


fflFPIIft 


MASTER   POSITIVE  RELEASE  POSITIVE 

4^#*e   Qnxun 

SOUND   RECORDING 


Du  Pont  now  adds  to  its  list  of  standard  cine  products  a 
group  of  fine  grained  sound  recording  and  positive  print 
stocks.  Developed  in  collaboration  with  production  and 
laboratory  engineers  engaged  in  the  industry,  these  new 
films  transmit  to  the  exhibitor's  screen  the  benefits  gained 
by  using  modern  camera  negatives  and  improved  sound 
recording  techniques.  Extensive  practical  tests  have  estab- 
lished that  these  new  materials  are  thoroughly  dependable. 
They  possess  the  stability  and  uniformity  characteristic  of 
all  Du  Pont  Cine  Products. 


Du   Pont    Film  Manufacturing     Corporation,    Incorporated 

9  Rockefeller  Plaza  Smith    &.    Aller,   Ltd. 

New  York  . . .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant . .  Parlin,  N.J.  Hollywood  .  .  California 


BETTER  THINGS  for  BETTER  L1V1NQ  through  CHEMISTRY 


International 

phOTOQRAphER 


Vol.  XIII 


March,  1941 


LEADING  ARTICLES  IN  THIS  ISSUE 

Some  Rules  Made  to  be  Broken,  Toland — Page  3 

The  Amazing  Mr.  Fulton — Page  5 

George  Barnes,  Winner — Page  7 

Historical  Facts,  Hoke — Page  11 

Studio   Portraits,  Jones — Page  13 

Color  with  Kodachrome,  McGregor — Page  16 

On  Location  for  Backgrounds.  Perry — Page  20 

PICTORIAL  FEATURES 

"Sunlit  Nude,"  Mortensen — Page  2 

Ginger  Rogers,  Miehle — Page  6 

"The  Outlaw,"  Hoke  and  Gillum — Pages  8.  9 

Studio  Portraits,  Welbourne — Pages  12,  14,  15 

REGULAR  DEPARTMENTS 

16  mm.  Department — Page  22 
Television — Page  24 
Patents,  Fulwider — Page  26 
They  Say,  Rella — Page  28 


No.  2 


Editor,  Herbert  Au.hu 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical   Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agencv,  Melbourne. 

Office  of  Publication:  6461   Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5lh  of  Each   Month 


lll^fi 

BROWN.CAIDWEU 


On  the  Cover 

This  scene  from  "The  Outlaw"  Howard 
Hughes  Production,  was  shot  near  Tuba, 
Arizona  on  the  site  of  a  prehistoric  Hopi 
cliff  dwelling.  A  four  by  five  Speed  Gra- 
phic camera  and  Eastman  Infrared  Cut 
Film  were  used.  Exposure:  one  second  at 
F.12,  25  A  filter. 

Correction 

The  stills  from  "Tobacco  Road"  featured 
in  the  February  issue  should  have  been 
credited  to  Emmett  A.  Schoenbaum  and 
Gene  Kornmann.  Our  apologies  to  Mr. 
Schoenbaum  and  Mr.  Powolny  for  the 
error. 

Strangest  Railway  Train  at  Fox 

The  strangest  railway  train  in  the  world 
has  been  making  daily  runs  along  150  feet 
of  track  on  Stage  Two  of  20th  Century- 
Fox'  Hollywood  studios. 

Built  according  to  specifications  and 
complete  from  firebox  to  tail  lamp,  the  6- 
car  train  was  constructed  at  a  cost  of 
$40,000  to  serve  as  the  setting  for  "Sleep- 
ers West,"  the  Lynn  Bari-Lloyd  Nolan 
comedy  mystery.  Included  in  the  train  is 
the  engineer's  compartment,  baggage  car, 
two   Pullmans,  a  diner  and  a  lounge  car. 

For  railway  scenes,  studios  usually  rent 
the  equipment.  However,  more  than  90% 
of  "Sleepers  West"  takes  place  in  and 
around  a  train  and  frequent  cloudiness 
and  rain  made  location  work  too  expen- 
sive. So,  instead  of  going  to  the  train,  the 
studio  brought  a  train  to  a  sound  stage. 

Strangest  part  about  the  movie  train  is 
that  it  can  be  completely  dismantled  and 
stored  away  in  a  single  dav.  Following  its 
work  in  "Sleepers  West,"  it  will  be  re- 
assembled from  time  to  time  to  appear  in 
subsequent  20th  Century-Fox  productions. 


Efficient  Courteous 

Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

u 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 


HOLLYWOOD 
Cable  Address: 


CALIFORNIA 
'CAMERAS" 


International  Photographer  for  March,  1941 


SI  NLIT  NUDE' 


(Enlargement  made  from  35  mm.  negative) 


By  William  Mortensen 


pRudEuy  ancI  The  tjmes 


Anion"  the  doctrines  promulgated  by 
the  Medieval  churchmen,  few  have  reached 
wider  or  lasted  longer  than  that  of  de- 
nouncing the  "flesh"  as  evil  and  loathsome 
and  therefore  to  he  hidden.  Neurotic  as- 
cetics, flaming  with  a  compensatory  zeal 
kindled  by  their  own  abstinence,  built  up 
a  complex  against  the  naked  human  body 
that  finds  expression  even  todav.  Odo  of 
Cluny  in  the  Tenth  Century  reviled  in 
carefully  chosen  epithets  all  the  beautv  of 
the  female  body.  "If  we  cannot  bear  to 
touch  phlegm  or  filth  even  with  the  tip  of 
the  finger."  said  he,  "how  could  we  desire 
to  embrace  a  bag  of  dung."  And  with 
wonderment  we  read  of  female  ascetics 
who  bathed  in  the  dark  or  in  their  shifts, 
lest  they  fall  into  temptation.  To  this 
same  impulse  may  be  traced  the  crime 
committed  by  the  missionaries  of  the  last 
century  against  the  island  peoples  of  the 
Pacific;  simple  beauty-loving  races  com- 
pelled   under    threats    to    become    lisping 


From  "Monsters  and  Madonnas" 
By  WILLIAM  MORTENSEN 

prudes,  walking  to  chapel  in  Mother  Hub- 
bards  and  cast-off  Prince  Alberts. 

This  movement  against  the  innocent 
South  Sea  Islanders  was  perhaps  the  final 
manifestation  of  an  impulse  already  some- 
what discredited  in  the  land  of  its  origin. 
Although  in  Victorian  England  the  forces 
of  prudery  held  absolute  sway,  the  char- 
acter of  this  prudery  had  changed  utterly 
since  the  days  of  Odo  of  Cluny.  As  Have- 
lock  Ellis  points  out:  "The  nineteenth  cen- 
tury man  who  encountered  the  spectacle 
of  white  limbs  flashing  in  the  sunlight  no 
longer  felt  like  the  medieval  ascetic  that 
he  was  risking  the  salvation  of  his  im- 
mortal soul  ...  he  merely  felt  that  it  was 
'indecent'."  Already  there  was  under  way 
a  movement  toward  a  healthier,  saner  view 
of  nuditv,  a  movement  which  today  is 
bearing  fruit.  Compare,  for  instance,  our 
conventional  swimming  attire  with  the 
habits  of  the  bather  who,  a  hundred  years 
ago  in  Victorian  England,  patronized  a 
"bathing    machine,"    a    dressing    room    on 


wheels  that  was  rolled  out  into  the  water. 
From  this  contraption  the  bather  descend- 
ed, completely  sheltered  by  an  awning  that 
came  down  to  the  surface  of  the  water, 
and  in  sedate  privacy  disported  himself  in 
the  chill  brine  of  the  North  Atlantic! 

Although  the  movement  has  suffered 
much  from  the  prurient  curiosity  of  a  sec- 
tion of  the  public  and  from  the  unseemly 
antics  of  a  few  publicity  seekers,  the 
growth  of  "Nudism"  is  significant  as  a 
symptom  of  a  changing  viewpoint.  It  ma) 
well  be  that  this  changing  viewpoint  is 
leading  us  to  a  new  Renaissance  of  the 
plastic  and  graphic  arts.  "In  all  the  arts." 
says  Maeterlinck,  "civilized  peoples  have 
approached  or  departed  from  pure  beauty 
according  as  they  approached  or  departed 
from  the  habit  of  nakedness." 

Nowadays,  among  normal  and  intelligent 
people,  we  usually  depend  upon  a  whole- 
some reaction  to  the  use  of  the  nude  in 
photography — pleasure  in  a  healthy  body, 
admiration  for  plastic  beauty. 


SOME  RULES  MAdE  TO  DE  DROliEN 


What  is  good  motion  picture  photogra- 
phy? 

If  simple  questions  always  had  simple 
answers,  it  would  save  a  lot  of  wear  and 
tear,  but  it  just  doesn't  seem  to  work  out 
that  way. 

Let's  have  a  look  at  an  answer  to  our 
question;  the  answer  being  a  good  deal 
more  complex. 

Good  photography  means  a  good  deal 
more  than  well  photographed  pictures.  A 
picture  may  have  carefully-considered 
composition,  fine  lighting,  depth  and  char- 
acter and  still  not  be  acceptable  as  "good" 
photography  when  applied  to  an  individual 
scene  in  a  motion  picture. 

The  pictures  the  competent  cinematog- 
rapher  must  get  on  his  film,  in  addition  to 
the  above  requirements,  must  fit  the  dia- 
logue, the  action  and  the  subject  matter 
of  the  sequence  in  question. 

For  instance,  very  often  my  laboratory 
man  has  called  me  to  say  that  my  rushes 
were  too  contrasty,  or  too  flat  or  that  the 
exposure  was  too  great  or  even  that  the 
picture  was  photographically  out  of  bal- 
ance. 

All    of   this    was,   on    several    occasions, 


perfectly  true.  But  the  laboratory-man  was 
judging  the  several  hundred  feet  of  film 
he  was  working  on  by  accepted  photo- 
graphic standards.  He  did  not  see  it  as 
anything  but  a  part  of  the  whole.  And  he 
certainly  did  not  see  it  through  the  eyes 
of  the  cameraman. 

With  all  due  respect  to  members  of  my 
craft,  I  have  never  been  satisfied  to  find  a 
successful  formula  and  then  stick  to  it  for- 
ever after.  To  do  so  would  be  a  positive 
denial  of  progress.  I  don't  believe  in  this 
and  I  hope  I  may  never  be  guilty  of  prac- 
tising  it. 

But  setting  new  standards  in  any  profes- 
sion or  craft  is  not  an  easy  matter.  One 
must  not  start  breaking  the  accepted  rules 
until  one  has  mastered  these  rules.  No 
competent  artist  and  I'm  speaking  now  of 
the  man  with  brush  and  paints,  no  com- 
petent artist,  such  as  Bracque  or  Picasso, 
ever  attempted  the  unconventional,  weird 
canvasses  for  which  they  are  famous  until 
they  had  thoroughly  mastered  the  conven- 
tional  methods. 

Applying  this  to  cinematography,  one 
can  readily  see  that  before  "special  ef- 
fects" are  to  be  sought  by  the  cameraman, 
he  must  master  his  "art"  as  it  is  conven- 


By  GREGG  TOLAND 

tionally  practised.  And  only  when  he  has 
done  that,  has  he  earned  the  right  to  ex- 
periment; only  then  has  he  gained  permis- 
sion, so  to  speak,  to  deviate  from  the  nor- 
mal. 

One  of  the  greatest  bugbears  in  Holly- 
wood today.  I  think,  is  that  the  greater 
portion  of  all  the  creative  workers — writ- 
ers, directors,  actors,  cameramen  and  all 
the  rest — are  making  pictures  for  the  ap- 
probation   of  their   fellow-workers. 

This  is  an  unhealthy  condition  and 
leads  nowhere  except  to  false  values  in 
pictures.  Motion  pictures  should  be  made 
for  the  ultimate  consumer,  the  audience. 
And  the  creative  worker,  should,  in  my 
opinion,  make  pictures  for  the  audience 
and  dare  the  criticism  of  his  fellow- 
workers. 

As  great  an  occupational  hazard  as  the 
Hollywood  cameraman  has  to  face  is  that 
of  constantly  wondering  whether  the  di- 
rector or  the  producer  or  the  star  will  like 
the  results  of  his  day's  work. 

It  is  true  that  many  are  not  in  a  suffi- 
ciently secure  economic  position  to  forget 
these  considerations  but  to  those  who  do 
have  a  few  nickels  in  the  bank,  this  view- 
point  is   directed:   The   sooner   you   adopt 


International  Photographer  for  March,  1941 


the  attitude  of  pleasing  yourself  as  a  pho- 
tographer and  disregard  the  multi-opinions 
of  others,  the  better  photographic  story- 
telling will  you  do. 

The  great  artist  land  I  am  not  debating 
whether  the  cameraman  is  an  artist)  does 
not  paint  his  picture  for  the  people  who 
come  to  see  it  but  he  paints  it  because  he 
wants  to  make  a  good,  honest  effort  to 
contribute  his  very  best  to  his  work. 

It  is  only  human  to  want  the  societv  in 
which  you  live  to  like  you  and  like  your 
work  but  artistically,  if  you  are  to  pro- 
gress, you  must  see  through  and  beyond 
your  immediate  society  and  aim  at  basic 
values  which  represent  your  personal 
taste. 

While  I'm  taking  pot-shots  at  the 
"shouldn*t-be-dones."  here's  another.  I 
quarrel,  photographically,  with  the  labor- 
atories which  are  still  using  the  Test  Sys- 
tem. This  antiquated  system,  to  my  mind, 
is  in  a  class  with  cranking  a  camera  by 
hand. 

As  you  know,  there  are  two  laboratory 
methods.     1 1  )   The  Test  Method,  consisting 


This  informal  picture  of  Gregg  Toland, 
chiej  cinemato grapnel  on  "The  Outlaw," 
mis  shot  during  production  by  Ira  Hoke. 


of  developing  some  six-feet  of  the  test  of 
a  scene  to  determine  how  much  or  how 
little  development  that  particular  scene 
requires.  (2)  The  Time  and  Temperature 
Method,  in  which  every  foot  of  film  is 
developed  identically  throughout  the  en- 
tire pictures. 

In  the  second  method,  Time  and  Tem- 
perature, the  result  is  constant  for  the  com- 
plete footage  shot  and  it  means  that  the 
constancy  of  the  picure  is  entirely  in  the 
hands  of  the  cameraman,  where  it  belongs. 
It  eliminates  the  judgment  of  a  third  party, 
the  negative-timer. 

For  instance,  suppose  we  have  a  scene 
in  which  the  girl  is  brilliantly  lighted  in 
the  foreground.  She  plays  the  scene, 
walks  to  the  back  of  the  set,  which  is  in 
shadow,  to  deliver  some  lines.  She  then 
returns  to  the  foreground.  Also  suppose 
we  want  a  close-up  of  the  girl  in  the  shad- 
ows as  she  speaks  her  lines. 

The  laboratory  man  sees  a  test  of  both 
the  scenes.  One  is  very  light.  The  other 
is  very  dark.  "Ah-ha,"  says  the  lab-man. 
"This  one  must  come  up;  that  one  must 
come  down."  So  when  he  develops,  he 
brings  the  light-values  on  both  scenes 
closer  together. 

Result:  The  girl  walks  out  of  the  bril- 
liantlv-Iighted  foreground,  goes  into  the 
deep  shadow,  speaks  her  lines  and  we  cut 
to  a  close-up.  We  have  just  seen  her  in 
shadow  but  in  the  close-ups  she  pops  onto 
the  screen  out  of  the  gloom,  because  of  an 
over-developed  negative.  The  quality  has 
also  changed.  But.  with  the  Time  and  Tem- 
perature Method,  each  shot  would  auto- 
matically be  developed  to  the  same  den- 
sity. 

If  you're  looking  for  reasons,  maybe 
this  will  answer  your  question.  I  think 
the  only  reason  the  Test  System  prevails 
is  that  a  few  years  ago,  before  we  were 
using  accurate  light-meters,  the  exposure 
depended  upon  the  camerman's  own  judg- 
ment. This  was  subject  to  error.  If  the 
mans  eyes  were  over-tired,  he'd  use  more 
light,   for  example. 

Therefore,  the  Test  System  was  valu- 
able in  those  days.  But  now,  with  accurate 
light-meters  at  our  command,  there  seems 
to  me  to  be  no  reason  for  continuing  this 
antiquated  system. 

Personally,  I  have  not  used  the  Test 
System  for  two  years.  I  believe  I  was  the 
first  man  to  use  light-meters  on  black-and- 
white  pictures,  although  they  were  em- 
ployed for  a  couple  of  years  before  that 
on  color.  And  many  cameramen  laughed 
at  my  use  of  a  meter.  Possibly  on  the 
grounds  that  camera-work  was  getting  so 
mechanical,  anybody  would  be  able  to  do 
it.  But  the  use  of  the  light-meter  saved 
a  lot  of  time  and  when  this  time  was  given 
over  to  discussion  of  the  picture  with  the 
diicctor,  with  greater  attention  devoted  to 
values,  and  the  like,  better  photography 
was  the  result. 

In  "The  Grapes  of  Wrath"  some 
scenes  were  photographically   flat,   muddy 


and  grey.  Photographically,  "bad"  pic- 
tures. But  these  pictures  fitted  the  scene 
accurately  and  conveyed  the  mood  and 
feeling  of  the  scenes  they  were  repro- 
ducing. 

In  "The  Long  Voyage  Home"  there  are 
a  number  of  scenes  in  which  the  back- 
grounds are  out  of  balance  with  the  faces 
in  the  foreground.  In  printing  these  scenes 
down,  so  that  the  highlights  on  the  faces 
were  right,  all  that  was  left  were  the  faces, 
the  background  was  lost.  And  deliberately 
so,  since  the  background  would  definitely 
detract  from  the  actors. 

Again,  in  "Wuthering  Heights."  I  was 
told  constantly  by  the  laboratory  that  the 
exposure  was  "dangerously  low."  But  I 
do  Mot  think  I  am  over-stating  when  I  say 
that  Oliviers  performance  was  aided  some- 
what by  the  fact  that  many  times  he  was 
in  very  deep  shadow,  with  only  his  well- 
spoken  lines  to  take  care  of  the  scene. 
And  this  "working  in  the  gloom"  was  a 
deliberate  advice  to  make  the  dialogue 
more  effective  by  coming  from  sinister, 
provocative    shadows. 

So,  how  does  one  get  results  one  can 
say  mean  "good  photography"? 

Well,  after  mastering  the  techniques,  the 
craft-aspects  of  camerawork,  one  has  to 
have  a  feeling  for  those  refinements,  those 
"experimentations."  And  this  is  the 
"hunch",  or  the  "feeling"  every  competent 
craftsman  or  artist  has  when  he  sets  about 
doing   a  job. 

Learn  the  orthodox  methods  thoroughly 
and,  if  you  have  this  "sense  of  feeling," 
you'll  find  yourself  reaching  out  for  those 
effects  that  make  "good  photography." 


Still  Cameramen  Receive  Recognition 

The  First  Annual  Exhibition  of  the  Art- 
istry of  Motion  Picture  Still  Photographers 
will  be  held  under  the  auspices  of  the 
Academy  of  Motion  Picture  Arts  and 
Sciences,  at  the  Hollywood  Studios'  Still 
Photography  Show,  April  14  to  26.  1941. 

The  Academy  announces  "It  will  be  an 
annual  event,  created  and  maintained  un- 
der strict  supervision  to  bring  greater  rec- 
ognition to  motion  picture  still  men  and 
to  advance  the  fine  art  of  still  photography, 
in  the  interests  of  motion  pictures." 

Entries  will  not  be  received  before 
March  3  and  not  later  than  March  15. 
Gold  Academy  medals  will  be  awarded 
the  best  prints  in  the  seven  different  exhibit 
classifications.  Competition  is  limited  to 
still  pictures  made  during  the  filming  of 
motion  pictures  between  March  1,  1910 
and  March  1,  1941. 

Free  lance  still  men  are  eligible  for  the 
competition  and  should  direct  their  in- 
quiries to  Herbert  Aller,  Local  659, 
IATSE.  6461  Sunset  Blvd.,  Hollywood;  or 
to  Donald  Gledhill.  Executive  Secretary 
of  the  Academy. 


ThE  AMAZINQ  MR.  fulTON 


SPECIAL  EFFECTS  CHIEF,  UNIVERSAL  STUDIOS 


Who  said  "impossible?" 

There  is  no  such  word,  according  to 
John  Fulton,  Universal  studios  ingenious 
young  special  effects  chief. 

Fulton  has  proved  it  by  doing  the  im- 
possible time  and  again.  Since  1923,  when 
he  first  became  active  in  trick  effects 
work,  his  amazing  photographic  achieve- 
ments have  startled  the  worlds  film  audi- 
ences and  been  the  envy  of  Hollywood's 
technical  experts. 

Probably  Fulton's  most  celebrated  ac- 
complishment— at  least,  the  one  which 
brought  him  public  recognition  for  the 
first  time — was  his  rendering  the  Invisible 
Man  invisible  in  1933.  Universal  had  pur- 
chased "The  Invisible  Man"  from  another 
studio  which  had  given  it  up  as  impossible 
to  film.  Called  in  by  studio  officials,  Ful- 
ton stated  that  nothing  was  impossible. 
Then  he  set  out  to  show  them. 

With  Claude  Rains  in  the  title  role, 
"The  Invisible  Man"  showed  clothing  walk- 
ing down  streets  alone,  footprints  impres- 
sing themselves  in  the  snow,  cigarettes 
smoking  themselves,  and  other  weird  ef- 
fects. The  press,  public  and  Hollywood 
itself  asked,  "Who  did  that?"  When  told, 
they  began  to  shout  Fulton's  praises. 

Previously,  Fulton  had  scored  numerous 
other  scoops  in  camera  trickery.  But  be- 
ing behind  the  scenes,  he  was  accorded  no 
credit  or  acclaim.  It  is  only  in  recent 
years  that  the  film  industry  has  deigned  to 
honor  its  technicians  as  well  as  its  per- 
formers. 

Fulton  began  life  in  Beatrice,  Neb.,  in 
1902,  descendant  of  an  impressive  array  of 
antecedents.  Among  the  latter  were  steam- 
boat inventor  Robert  Fulton,  writer-com- 
poser-actress-pianist Maude  Fulton,  stage 
artists  Jesse  and  Enid  Fulton,  and  Dr. 
John  Fulton,  John's  grandfather  who 
brought  Robert  Taylor  into  the  world. 

Fulton's  father  is  Fitch  B.  Fulton,  a 
prominent  Hollywood  scenic  artist  for  the 
past  17  years.  When  John  was  born,  the 
senior  Fulton  was  an  itinerant  stage  man- 
ager and  scenic  artist  for  the  Orpheum 
Circuit.  As  a  result  of  the  family's  con- 
stant traveling,  John  attended  18  schools 
before  settling  in  Los  Angeles  in   1917. 

Early  in  his  youth  John  was  struck  with 
the  urge  to  reproduce  beautiful  scenes.  His 
first  impulse  was  to  paint,  but  since  most 
of  the  artists  he  met  were  starving,  he 
turned  to  photography  as  a  more  practical 
method  of  capturing  those  breath-taking 
views  glimpsed  on  vacation  trips  to  the 
Grand  Canyon,  Yosemite  and  other  beauty 
spots. 

John's  entire  world  was  wrapped  up  in 
his  little  Brownie.  He  built  his  own  lab- 
oratory, mixed  his  own  "soup,"  developed 
his  own  prints.    By  nature  curious  and  in- 


ventive he  was  soon  dabbling  in  double 
exposure  and  other  amateur  photography 
tricks. 

In  Los  Angeles  John  entered  the  Poly- 
technic Trade  School,  majoring  in  elec- 
trical engineering.  He  secured  a  job  im- 
mediately upon  graduation  with  the  South- 
ern California  Edison  Co.  Dissatisfied 
with  his  meagre  pay,  he  quit  his  position 
and  became  a  surveyor  for  a  realty  com- 
pany. Meanwhile  he  kept  alive  his  inter- 
est in  photography  with  frequent  visits  to 
the  Mack  Sennett  studios  where  Charlie 
Chaplin,  Harold  Lloyd  and  other  famous 
comedians  were  working. 

It  was  in  1923  that  Fulton  surrendered 
to  the  lure  of  the  film  industry.  He  gave 
up  his  $50-a-week  surveying  job  to  serve 
for  $18  a  week  as  assistant  cameraman 
and  still  photographer  at  the  Sennett 
Studios.  A  year  later  he  was  called  to 
Universal,  where  he  remained  for  two 
years  as  assistant  to  Jack  Rose. 

Then  Frank  Williams,  who  owned  most 
of  the  trick  film  patents  at  that  time,  en- 
gaged Fulton  as  his  assistant.  At  last  John 
was  in  his  element.  His  next  few  years 
were  marked  by  ingenious  accomplish- 
ments. Such  memorable  scenes  as  the 
chariots  running  over  men  in  "Ben  Hur," 
the  battle  and  barrage  sequences  in  "What 
Price  Glory,"  and  "The  Big  Parade,*'  the 
Johnstown  Flood  in  the  picture  of  that 
name  were  but  a  few  of  the  amazing  effects 
he  conceived  and  supervised. 

In  1927  Universal  again  summoned  Ful- 
ton, this  time  for  "Uncle  Tom's  Cabin." 
The  ice  scenes  in  this  film  are  still  remem- 
bered today  as  a  most  remarkable  film 
achievement. 

Not  long  afterwards,  Fulton  produced 
another  sensation  when  he  showed  how  lap 
dissolves  could  be  made  right  in  the  cam- 
era. A  little  later  he  gave  film-makers  an- 
other jolt  when  he  created  a  400-foot  mon- 
tage sequence  for  "The  Black  Cat." 

In  1928  Fulton  went  over  to  Columbia 
to  concoct  more  celluloid  magic  for  Frank 
Capra's  "Submarine."  After  that  historic 
production,  he  joined  Producer  Henry 
King  to  serve  as  cameraman  on  three  films. 

In  1931  Fulton  again  returned  to  Uni- 
versal to  head  the  studio's  process  depart- 
ment. His  first  assignment  was  to  create 
the  earthquakes,  lava  flows  and  other 
special  effects  for  "East  of  Borneo."  The 
startling  electrical  effects  in  "Franken- 
stein," the  realistic  bombing  raid  in  the 
original  "Waterloo  Bridge,"  the  spectac- 
ular plane  crashes  in  "Air  Mail"  were 
other  camera  highlights  evolved  by  Fulton 
before  his  notable  work  in  "The  Invisible 
Man." 

A  list  of  Fulton's  other  accomplishments 
since  then  would  fill  a  volume.  Last  season 


he  topped  his  efforts  in  "The  Invisible 
Man"  with  even  more  ingenious  wizardry 
in  "'The  Invisible  Man  Returns."  When 
Universal  released  "The  Invisible  Woman" 
a  few  months  ago  again  it  was  Fulton  who 
stole  the  show  with  incredible  new  magic. 

At  present  he  is  busy  brewing  new  leger- 
demain for  "Man-Made  Monster,"  the 
studio's  latest  horror  drama.  In  it  he  will 
show  a  human  being,  supercharged  with 
electricity,  glowing  like  an  electric  light 
bulb. 

Tall,  blonde,  modest  John  Fulton  tries  to 
disclaim  the  difficulties  of  his  work. 

"Much  of  it  is  purely  mechanical,  if 
secret,"  he  states.  "Most  of  it  is  done  by 
a  simple  formula  which  we  hit  on  and 
others  just  failed  to  find.  Practically  all 
of  it  requires  long  hours  of  tedious  work 
by  a  large  staff  of  photographers,  artist* 
and  technicians. 

"In  many  ways  our  job  is  a  thankless 
one.  For  instance,  an  apparently  difficult 
trick  may  be  accomplished  very  easily. 
Other  effects  much  more  difficult  are  hard- 
ly remembered.  But  all  in  all  the  work  is 
satisfying  and  I  still  don't  think  anything 
is   impossible." 

In  the  same  department  and  ably  assist- 
ing Mr.  Fulton  are  Stanley  Horsley  and 
Ross  Hoffman,  second  cameramen,  and 
James  V.  King,  assistant  cameraman. 


Weird  Set  at  Universal 

One  of  the  spookiest  sets  ever  devised  by 
Universal  technicians,  famous  for  their 
backgrounds  for  blood-chilling  thrillers, 
provides  the  principal  setting  in  the  new- 
est Bud  Abbott  and  Lou  Costello  starring 
comedy,  "Oh,  Charlie,"  now  in  production. 

To  all  intents  and  purpses  the  setting  is 
a  bedroom,  elaborately  furnished,  in  a 
long  abandoned  tavern  to  which  the  come- 
dians fall  heir.  By  the  simple  application 
of  pressure  on  a  coat  hook  in  a  clothes 
closet,  the  room  suddenly  comes  to  life. 
The  bed  folds  back  into  the  wall,  chairs 
and  dresser  disappear  as  though  by  magic, 
and  in  their  places  a  big  roulette  table, 
crap  table  and  other  gambling  devices 
snap  into  place. 

Apparently  the  tavern  at  one  time  was  a 
hideout  for  bootleggers  who  operated  the 
place  as  a  gambling  joint  also,  and  the  in- 
nocent appearing  bedroom  was  provided 
in  case  of  raids. 

Costello,  rotund  member  of  the  famous 
comedy  team,  attempts  to  bed  himself 
down  in  the  room  with  hilarious  results, 
supplying  one  of  the  funniest  sequences  of 
the  picture. 


Ginger  Rogers,  Academy   Award   winner 


By  John   Miehle 


Motion 
pictures  jn 
DeFense 

pROQRAM 


Through  The  Auspices  of  the  Research 
Department  of  the  Motion  Picture  Acad- 
emy of  Arts  and  Sciences  the  motion  pic- 
ture industry  will  do  its  share  in  contribu- 
ting to  the  defense  program  upon  which 
the  United  States  is  now  embarked. 

Arriving  here  recently  was  Major  Gen- 
eral James  P.  Mauborgne  whose  duties 
will  be  to  explain  the  wishes  of  the  United 
States  Army  in  connection  with  production 
of  motion  picture  film  to  be  utilized  in  the 
national  defense  program.  Also  arrived 
are  Colonel  Major  John  L.  Ballentvne  of 
the  Infantry  and  Colonel  Gordon  P.  Savoy 
of  the  Cavalry.  Major  Charles  Strodter, 
Signal  Corps  Officer,  has  been  assigned  to 
Hollywood  to  act  as  liaison  officer. 

Major  General  Mauborgne  has  made  it 
known  that  through  the  use  of  motion  pic- 
ture film,  men  will  be  trained  four  to  five 
times  faster  than  under  normal  conditions. 
Of  significant  help  will  he  the  use  of  mo- 
tion pictures  in  explaining  the  operations 
of  mechanical  devices  and  equipment,  as 
well  as  discovering  faults  these  may  have 
when  employed  in  maneuvers  and  war  tac- 
tics, all  of  which  is  covered  in  every  phase 
by  the  motion  picture  cameraman. 

The  Major  advised  that  the  Signal  Corps 
of  the  U.  S.  Army  is  not  as  well  equipped 
as  Hollywood  to  render  this  service  where 
it  will  be  done  on  a  cost  basis  without  anv 
profit  to  the  motion  picture  industry.  This 
will  be  the  contribution  of  the  motion  pic- 
ture industry  to  the  national  defense  pro- 
gram. Certain  writers  have  agreed  to  con- 
tribute their  services  but  the  lower  bracket 
working  class  which  will  be  composed  of 
all  technical  help  will  be  paid  in  accord- 
ance with  the  union  scale.  At  present  there 
are  writers  working  with  the  respective 
army  officials  in  planning  the  types  of  pic- 
tures that  ought  to  be  made.  There  will 
be  no  press  releases  or  publicity  given 
these  pictures.  They  will  be  the  property 
of  the  Army  and  those  taking  part  in  the 
creation  of  these  pictures  will  be  servants 
of  the  United  States  Government.  Natur- 
ally it  will  consist  of  work  in  35  milli- 
meters. There  is  the  possibility  that  some 
of  it  may  be  done  in  16  millimeter.  Lab- 
oratory  facilities  have  already  been  set 
up  and  different  studios  will  be  assigned 
their  particular  job.  The  General  empha- 
sized one  important  and  surprising  state- 
ment; that  is,  that  the  contribution  of  the 
motion  picture  indusry  to  defense  can  be 
made  to  be  more  important  than  that  of 
the  steel  industry. 


CEORqE  Barnes,  Winner, 
Ac  Ad  e  My  AwARd 


WINNER  OF  THE  Academy  Award  for 
the  best  photographic  contribution,  in  black 
and  white,  was  George  Barnes,  much  res- 
pected member  of  Local  659,  for  his  not- 
able work  on  Selznick  International  Pro- 
duction, "Rebecca." 

Award  for  the  best  color  photography 
was  bestowed  upon  George  Perinal  for  his 
outstanding  work  on  the  Alexander  Korda 
Production,  "Thief  of  Bagdad."  Perinal 
probably  will  be  among  the  last  to  learn 
of  the  honor,  as  he  is  now  with  the  British 
armed  forces. 

Sometime  ago  International  Photog- 
rapher published  a  story  dealing  with  the 
activities  of  Lawrence  Butler,  who  was 
responsible  for  so  much  of  the  special  ef- 
fects in  "Thief  of  Bagdad."  Recognition 
of  his  work  by  International  Photographer 
was  confirmed  by  the  award  to  Butler 
of  the  Academy  plaque  for  special  effects. 
There   is   much   more   we   will    hear   about 


from  Larry  Butler. 

By  coincidence  Joe  Rucker,  newsreel 
cameraman  for  Paramount,  who  went  to 
the  South  Pole  with  Byrd  on  his  first  ex- 
pedition and  was  awarded  not  only  an 
Oscar  but  the  Congressional  Medal,  was 
there  to  photograph  George  Barnes,  winner 
of  the  award  for  black  and  white  pho- 
tography. 

The  change  in  the  manner  of  presenting 
the  awards  this  year  caused  much  "sitting 
on  the  edge  of  chairs."  The  tabulations  by 
the  auditors  were  not  announced  or  known 
to  anyone  until  the  awards  actually  were 
presented  at  the  dinner. 

The  outstanding  event  at  the  banquet 
was  the  talk  delivered  by  President  Roose- 
velt in  which  he  addressed  the  industry 
and  made  known  his  regard  for  its  import- 
.ance    in    our    modern    civilization    and    its 


niifi 


6 
Nationa 


cance    in    rendering    services    in 


the 


Defense  Program. 


George  Barnes,  Member  Local  659,  awarded  the  Academy  "Oscar-1 
for  best  black  and  white  photography. 


International  Photographer  for  March,  1941 


Sandstone  chimneys  of  Coal  Canyon,  Arizona, 
form  the  labyrinth  hideaway  of  Billy  the  Kid, 
desperado  of  the  lo^O's.  Actual  locale  of  "The 
Outlaw."    Photos  by  Ira  Hoke. 


KiftNHl 


Sheriff  Pat  Garrett  ami  his  posse  follow  a  Crow 
Indian  tracker  to  tbe  lair  of  Billy  the  Kid.  Picture 
shot  from  great  height.  An  idea  of  the  immensity 
of  these  nature  formed  monuments  may  be  gained 
by  comparison  with  the  horses  and  their  riders  in 
lower  pari  of  picture. 


huqhts 
fii\ds 


NEW 


Jack  Beutel,  21,  of  Dallas,  Texas  and 
Jane  Russell,  19.  of  Van  Nuys,  California, 
are  the  screen's  newest  stars,  discovered  by 
Howard  Hughes,  who  brought  to  motion 
pictures  Jean  Harlow  and  Paul  Muni.  In 
Hughes'  production,  "The  Outlaw,"  Jack 
makes  his  screen  debut  as  Billy  the  Kid, 
with  Jane  as  his  quick-tempered  sweet- 
heart. Rio.  Neither  Jane  nor  Jack  has  ever 
been  in  motion  pictures  before.  Jane  grad- 
uated from  Van  Nuys  High  School  a  little 
more  than  a  year  ago,  and  sought  some 
kind  of  work  which  would  help  her  to 
support  her  widowed  mother  and  four 
brothers.  Between  herself  and  her  mother, 
Jane  managed  to  earn  enough  as  a  pho- 
tographer's model  to  take  a  dramatics 
course.  Modelling,  however,  proved  a  pre- 
carious calling,  so  Jane  accepted  a  job  as 
a  $10  week  receptionist,  working  after- 
noons, in  a  doctor's  office.  It  was  then  that 
she  got  a  chance  to  try  for  the  leading 
feminine  role  in  "The  Outlaw,"  since 
Hughes  was  searching  the  nation  for  two 
completely  new  stars.  Jack,  meanwhile, 
was  sleeping  in  an  apartment  with  four 
other  job-hunting  youths,  with  a  mattress 
on  the  floor  as  his  boudoir.  He  had  come 
to  Hollywood  from  Dallas  with  the  idea  of 
crashing  films,  but  had  no  success  what- 
ever until  the  Hughes  talent  search  gave 
him  the  opportunity  to  shoot  for  stardom. 
Never  before  in  Hollywood  history  have 
two  newcomers  been  placed  in  the  top  roles 
of  a  picture  costing  more  than  a  million 
dollars.  In  "The  Outlaw"  cast  with  Jane 
and  Jack  are  Thomas  Mitchell,  Walter 
Huston  and  Mimi  Aguglia.  The  picture  is 
being  released  through  Twentieth  Century- 
Fox. 


RKO's  "Parachute  Battalion" 

Harry  Carey,  veteran  character  actor 
who  has  scored  innumerable  triumphs  on 
the  screen,  has  been  signed  by  RKO  Radio 
for  a  major  role  in  "Parachute  Battalion," 
which  Producer  Howard  Benedict  expects 
to  send  before  cameras  early  next  month. 

"Parachute  Battalion."  based  on  a  screen 
play  by  John  Twist  and  Capt.  Hugh  File. 
U.  S.  Air  Corps,  will  be  the  first  motion 
picture  to  chronicle  the  dare-devil  lives 
led  by  members  of  the  United  States 
Army's  newly-formed    parachute  troops. 

Leslie  Goodwins,  who  will  direct  the 
new  feature,  is  now  en  route  to  Fort  Ben- 
ning,  Ca.,  with  a  technical  crew  to  film 
backgrounds  for  the  picture. 


J{ 


"THE  OUTLAW" 


Howard  Hughes  Production. 


Top  left :  Walter  Huston  as  "Doc  Holliday,"  card  sharper  and  gambler 
of  the  80's,  friend  and  pal  of  Billy  the  Kid.  Top  right:  Tom  Mitchell 
as  Sheriff  Pat  Garrett.  (Stills  by  Ira  Hoke.)  Lower  left:  Jane  Russell 
as  the  sweetheart  of  Billy  the  Kid  (still  by  Tad  Gillum)  and  lower 
right  The  Kid  himself  as  played  by  Jack  Beutel   (still  hy  Ira  Hoke.) 


International  Photocrapher  for  March,  1941 


MIMURA  IN  JApAN 


October  31,   1940. 

Mr.  Herbert  Aller  and  Members  of  Local 
659:  "Long  time  no  write — excuse  me, 
sirs."  It  has  been  over  three  years  since  I 
visited  Hollywood  last  and  since  then  I 
presume  that  great  improvements  in  the 
making  of  pictures  have  taken  place.  For 
myself,  I'm  kept  quite  busy  most  of  the 
time  shooting  one  picture  after  another. 

In  our  Toho  Studios  twenty-four  cam- 
eramen are  under  contract  at  present  and 
they  are  quite  busy,  too.  Thirteen  of  them 
are  for  regular  feature  pictures;  seven  are 
assigned  for  short  subjects  and  the  rest 
work  for  the  special  effects  department. 
Usually  seven  to  nine  features  are  sched- 
uled daily  throughout  the  year.  Seven  NC 
type  Mitchell  cameras,  three  standard 
Mitchells  and  nine  other  Bell  &  Howell 
and  Super  Parvo  cameras  are  in  use. 

I  have  shot  three  of  the  much  talked 
about  pictures  this  year,  namely,  "Prin- 
cess   Snake,"    "The   Night   in    China"    and 


"Son-Go-Cue."  The  first  one  is  a  costume 
play  and  broke  the  box  office  record  in 
many  years.  The  second  was  made  mostly 
in  China,  where  we  were  located  nearly 
two  months.  The  story  was  laid  in  Shang- 
hai, with  Japanese  seamen  and  a  Chinese 
girl  taking  the  parts.  One  of  the  most 
popular  Chinese  stars,  Lee  Shang  Lang, 
played  the  part  of  the  girl.  She  made  such 
a  hit  in  this  picture  that  we  borrowed  her 
again  in  "Son-Go-Cue." 

The  story  of  "Son-Go-Cue"  or  "The 
Adventures  of  Western  Travel"  was  taken 
from  the  famous  old  Chinese  fantasy  well 
known  to  the  Oriental  people,  especially 
for  the  children.  The  three  main  characters 
are  the  monkey,  the  hog  and  the  sea 
monster. 

Now  I'm  working  on  an  amazing  story 
of  "The  Horse."  It  resembles  the  popular 
book  "Yearling,"  telling  of  the  country 
people  and  their  love  for  the  animal.  The 
shooting   of  this   picture  started  the  early 


part  of  September,  1939,  because  the  story 
calls  for  four  seasons:  Fall,  Winter,  Spring 
and  Summer,  then  back  to  Fall  again. 

In  Japan,  under  present  conditions,  we 
are  not  able  to  see  the  latest  American  pic- 
tures, but  quite  old  ones  are  coming  in 
one  by  one.  "The  Stage  Coach"  and  "Stan- 
ley and  Livingston"  made  great  hits  lately 
and  the  work  of  both  Bert  Glennon  and 
George  Barnes  was  praised  by  theatregoers 
here. 

In  conclusion.  I  hope  that  you  and  the 
boys  in  the  local  are  enjoying  good  health 
and  here  is  wishing  you  all  the  best  of 
luck.  I  am  enclosing  a  few  stills  from  my 
latest  pictures  and  I  hope  you  will  enjoy 
them. 

Yours  sincerely, 

HARRY  A.  MIMURA, 

Camera  Dept.,  Toho  Studios, 

100  Kitami  Setagaya,  Tokyo,  Japan 


Upper   left:    Marry    Minium  at   the  camera;  right:    Quocn   of  the  harem  enjoys  the  dancing;   lower  left: 
Itig   Boj    Hog  and  the  popular  Chinese  star,  Lee  Shang  I.ang;  right:  the  fantastic  woods  of  the  fairy  talc. 


JO 


Some  HisTomcAl 
Facts 

By  IRA  HOKE 

A  long  time  ago,  22  years  to  bs  exact, 
when  I  shot  stills  for  the  old  Jack  Hox'e 
series  of  westerns,  the  up  and  coming  sen- 
sitive emulsion  was  the  Hammer  Dry  Plate 
and  the  Seed  40.  Not  that  we  ever  had  use 
for  more  than  one  emulsion  on  a  picture 
in  those  days,  but  there  was  always  the 
usual  controversy  among  us  to  whom  made 
the  best  negatives,  and  on  what. 

Development  time  and  temperature  did 
not  count  much,  as  exposure  latitude  near- 
ly always  made  it  possible  for  something 
to  develop  into  visibility  upon  the  plate 
which  made  a  print  of  sorts,  which  we 
fondly  termed   a   "production   still." 

Shortly  after  the  war  some  smart  boys 
at  the  Eastman  plant  in  Rochester  figured 
up  a  new  fangled  high  speed  emulsion 
which  they  rolled  out  on  sheet  celluloid 
instead  of  glass. 

Over  on  the  old  Fox  lot  at  Western  and 
Sunset  I  took  out  the  first  Buck  Jones  show 
with  the  new  film  loaded  in  special  sheaths 
in  my  old  plate  holders.  It  wasn't  much 
faster  than  the  Standard  Orthos  we  had 
previously  used,  but  it  was  a  lot  lighter, 
and  I  remember  that  the  cut  film  negatives 
for  the  whole  picture  weighed  just  about 
the  same  as  a  single  dozen  of  the  old  glass 
plates. 

From  then  on  I  was  sold  on  the  new 
product  and  when  I  went  over  to  director 
Ed  LeSaints  company  as  still  man  to  Shir- 
ley Mason,  camera  department  head.  Frank 
Burns,  outfitted  me  with  the  new  thin  cut 
film  holders  made  especially  for  the  new 
product. 

I  shall  never  forget  that  picture.  A  great 
load  had  been  lifted  from  my  heart  as  well 
as  from  my  camera  case,  for  the  new  "Par 
Speed"  film  actually  did  take  a  lot  less 
exposure  to  produce  a  good  negative. 

That  was  fortunate  with  Shirley  for  she 
used  to  have  the  jitters  after  a  long  day's 
work,  and  the  afternoon  stills  would  have 
often  been  failures  had  it  not  been  for  that 
little  speed  boost  that  the  Eastman  Kodak 
boys  had  packed  in  the  new  film. 

Along  in  the  early  twenties  our  only 
piece  of  equipment  was  the  8  x  10  view 
camera,  but  when  I  went  over  to  the  Rob- 
ertson-Cole lot  with  Harry  Carey  I  began 
to  use  the  faster  cut  film  with  remarkable 
success  in  action  pictures  with  the  Graflex. 
That  camera  not  only  began  to  make  use 
of  its  fast  shutter,  but  more  important,  be- 
came light  enough  to  chase  horses,  Indians 
and  cowboys  with.  I  think  the  Graflex 
must  have  lost  about  six  pounds  overnight 
when  cut  film  supplanted  glass  plates  in 
its  magazines. 

Later  came  Alberta  Vaughn  and  her  col- 
orful college  girls,  and  I  tried  a  few  of 
the  new  Panchromatic  cut  films.  Portrait 
(Continued  on  page  18) 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY   DETAIL 


LABORATORY  EQUIPMENT  WILL  BE 
ON  DISPLAY  AT  THE  NEW  SHOW 
ROOM,  IN  CONNECTION  WITH  MY 

New  Address: 


1515  Cahuenga  Blvd. 

Hollywood,  California 

ART  REEVES 

Cable  address:  ARTREEVES 


for  SPEED  GRAPHIC 
OWNERS  only! 

SUPER 
SPEEDFLASH   SHOTS 

Are  Easy  With 

SISTOCUN! 

Here's  an  instrument  designed  by  news  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3^4  x  41/^  and  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at  1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  for  those  who  want  real 
action  FLASH  PICTURES— at  SUPER  SPEEDS ! 
Price  $12.00. 

THE  KALART  COMPANY  INC. 


G0ERZ 

KINO-HYPAR 
LENSES 

I       f:2.7  and  f:3 


Uepl.    1-3 


619    TAFT    BLDC. 


HOLLYWOOD,    CALIF. 


KALART 


for     regular     and     color 

movies  of  surprising 

quality.    High   chromatic 

correction  .  .  . 

Focal  lengths   15mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur    and 

Professional  Movie  Cameras. 


COERZ   Reflex   FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
sue  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free    FOCUSER 
and    FIELD    FINDER    CONTROL 

for   Filmo    121    and   Simplex-Pockette,    no    more 
off-center  pictures,  magnifies  4  and  8x. 

For    Detailed    Information    Address 
Depl.    IP    3 

C.  P.  Coerz  American  Optical  Co. 

[  317    East   34th  St.,   New  York  ( 

American    Lens    Makers    Since     1899 


International  Photographer  for  March,  1941 


11 


IDA  LUIMNO 


By  Scotty  Welbourne 


12 


STUtJlO  PORTRAITS 


By  CARLISLE  JONES 


Whether  he  is  photographing  the  newest 
cutie  on  the  Warner  lot  or  the  Statue  of 
Liberty,  Charles  Scott  Welbourne,  head 
portrait  photographer  of  that  studio,  be- 
lieves that  the  proper  use  of  light  and 
shadow  is  the  answer  to  most  of  his  prob- 
lems. 

Light  and  shadow,  explains  Welburne, 
is  all  that  may  make  the  expensive — and 
expressive — face  of  a  Bette  Davis,  for  ex- 
ample, different  from  the  ordinary  face  of 
Sophie  Glutz,  that  long-suffering  nonen- 
tity who  is  always  available  for  compara- 
tive purposes.  The  varieties  and  possibili- 
ties of  light  and  shadow  for  the  camera, 
he  adds,  never  have  been  exhausted  by 
Hollywood   or  by   any   photographer. 

The  commercial  portrait  photographer 
and  the  studio  portrait  man  have  much  in 
common,  but  they  must  work  differently 
because  they  have  different  objectives. 

The  commercial  artist  works  to  get  real- 
ism. What  he  wants,  because  he  knows  it 
will  please  his  customers,  is  a  more  or  less 
exact  likeness. 

The  studio  photographer,  on  the  other 
hand,  is  willing — even  anxious — to  sacri- 
fice an  exact  likeness  for  a  glamorous  ap- 
pearance, a  seductive  smile,  a  menacing 
glare  or  whatever  it  is  his  subject  has  the 
most  of. 

The  studio  photographer  works  with  the 
worlds  most  expensive  faces  and  he  knows 
he  can  add  or  take  away  many  thousands 
of  dollars  in  value  by  the  way  he  pictures 
those  faces. 

Mood  and  frame  of  mind  of  a  subject 
are  vital  to  good  results,  Welbourne  be- 
lieves. Almost  as  important  as  lighting 
but  not  quite.  The  photographer,  once  he 
has  started  the  sitting,  shouldn't  putter 
too  much  with  the  camera  because  the 
faster  he  works  the  better  will  be  the  ani- 
mation  and  expression   of  the  subject. 

The  photographer  can't  fit  every  sub- 
ject into  the  same  mold,  he  adds. 

"Not  every  player  looks  good  on  a  bear 
rug." 

It  is  important,  Scotty  thinks,  to  get 
and  keep  his  subjects  in  the  right  mood. 
He  has  a  phonograph  handy  and  a  supply 
of  records — all  kinds  of  records — so  that 
he  can  fit  his  music  to  the  mood  the  player 
is  in  or  that  Scotty  wants  the  plaver  to 
feel. 

The  man  who  has  photographed  almost 
every  one  of  the  great  and  near-great 
names  in  Hollywood,  believes  that  he 
should  "press  the  bulb"  when  the  general 
effect  he  wants  is  before  the  camera  re- 
gardless of  small  details.  He  likes  to 
think  that  each  picture  tells  a  story  but 
he  won't  attempt  to  interpret  all  the  pic- 
ures  he  makes. 

Scotty  once  made  686  pictures  of  Carole 
Lombard   in   one  day.    This  is  not  as  ex- 


travagant as  it  sounds,  however,  because 
the  demand  for  pictures  of  motion  picture 
celebrities  is  greater  than  most  people 
realize.  A  fleeting,  twisted  smile  on  Errol 
Flynn's  handsome  face  caught  by  Scotty's 
camera,  will  eventually  please  a  Hula 
maiden,  a  Chinese  peasant  and  a  hundred 
other  types  and  nationalities.  It  may  cir- 
culate for  ten  years. 

In  his  big.  square,  lofty  gallery  on  the 
Warner  lot,  Scotty  doesn't  think  of  all 
these  things  before  snapping  each  picture. 
He  is  a  young  man  but  an  old  hand  at  the 
business  and  most  of  it  comes  to  him  by 
habit  now.  It  is  only  when  he  is  asked  to 
explain  his  work  that  he  tells,  haltingly, 
of  his  theories  and  practicss. 


"It's  just  light  and  shadow,"  he  insists, 
"whether  the  subject  is  Merle  Oberon  or 
the  Statue  of  Liberty.  Only  I  would 
rather  photograph  Miss  Oberon.  Or  even 
Jimmy  Cagney.  Jimmy's  face  has  enough 
animation  to  keep  it  interesting — even  if  it 
isn't  very  beautiful." 

One  other  thing  is  important  to  the 
studio  photographer,  in  Scotty's  expert 
opinion.  The  photograph  or  the  photog- 
rapher never  must  overshadow  the  subject 
in  importance.  He  believes  it  is  import- 
ant that  his  credit  line  read,  "The  lovely 
Olivia  de  Havilland  —  portrait  by  Scotty 
Welbourne,"  and  not  "A  new  Welbourne 
portrait  of  Olivia  de  Havilland." 

He  thinks  the  latter  credit  line  "puts  the 
cart  before  the  horse,"  and  he  says  this 
without  meaning  to  call  Olivia  a  horse. 
He  thinks  that  the  studio  portrait  man 
must  always  be  of  secondary  importance 
to  the  star  he  pictures.  That's  one  reason 
he  holds  the  job  he  does. 


Scotty  Welbourne  "shooting"  Ann  Sheridan 


International  Photographer  for  March,  1941 


13 


Depicting  the  art  of  Charles  "Scotty"  Welbourne 


„, 

/% 

'■v 

Brenda  Marshall 
Olivia  cle  Huvillaml 


Joan  Leslie 
Sylvia  Sidney 


14 


See   story   on   preceding    page 


Ann  Sheridan 
Merle  Oberon 


Rita  Hayworth 
Rosemary  Lane 


International  Photographer  for  March,  1941 


15 


coIor  wrrh  kodAChRONE 


The  author  of  this  article,  writing  under  the 
pseudonym  of  Burr  McGregor,  is  a  well  known 
cameraman.  He  invites  any  questions  on  this  sub- 
ject.    (Editorial   Note.  I 

At  least,  once  in  your  experience,  you 
have  stopped  to  gaze  upon  the  depth  and 
beauty  of  a  colorful  scene,  or,  perhaps  it 
was  one  of  those  sublime  moments,  just 
before  the  close  of  day,  when  Nature 
seemed  to  stop  for  a  moment  to  paint  the 
sunlit  sky  in  golden  hues,  blending  off  into 
soft  pastel  shades  of  bluish-purple,  as  the 
golden  orb  gently  dipped  below  a  dark 
silhouetted  ridge  of  a  distant  mountain 
range,  pink-tinting  soft  cloud  edges  into 
myriad  hues  of  color  mystery;  and  while 
you  beheld  this  farewell  to  a  day,  you 
bowed  your  little  self  before  this  grand 
requiem  of  panorama,  regretting  your 
camera  was  loaded  with  a  film  that  could 
only  record  this  passing  display  in  tones 
of  gray:  the  more  regretful,  because  there- 
after, you  could  only  recall  this  phenome- 
non in  memory,  it  would  never  be  repeated 
the  same. 

It  is  such  a  show,  and  others  of  less 
grandeur,  that  have  intensified  the  increas- 
ing color-mindedness  of  aspiring  color 
fans  to  the  awakening  of  their  artistic 
souls. 

There  is  romance  in  color  photography! 
Its  fascinating  appeal  has  stimulated  com- 
petitive expression  from  almost  every 
commercial  and  entertaining  activity  of 
thought  throughout  the  civilized  world. 

The  invention  of  Kodachrome  has  open- 
ed unlimited  possibilities  to  the  realm  of 
scientific  research  for  analytical  study,  re- 
sulting in  discoveries  of  untold  benefits  to 
mankind  and  his  progress. 

Great  commercial  enterprises  employ 
this    product,    because    of    the    fidelity    of 


color  rendering,  to  educate  potential  pur- 
chasers of  the  excellence  of  their  merchan- 
dise and  to  influence  greater  trade  de- 
mands. 

This  medium  of  color  has  become  one 
of  the  most  influential  factors  of  educa- 
tion ;  unconscious  education,  due  to  the 
color  penetrating  to  the  mind  to  leave  a 
lasting  impression  more  impressive  than 
the  monochrome  picture,  or  written  word. 
A  correct  rendition  of  distant  places,  and 
strange  people,  are  brought  into  home 
circles,  as  well  as  the  auditorium,  with 
a  penetrating  fact  of  truth.  To  the  thirst- 
ing mind  for  knowledge  it  has  created  a 
source  of  educational  entertainment,  re- 
vealing hidden  secrets  of  scientific  lore. 

It  is  to  the  serious  minded  amateur  pho- 
tographer that  Kodachrome  has  opened  the 
vast  fields  of  romantic  adventure:  fields 
of  unlimited  opportunity  for  the  cultiva- 
tion and  expression  of  his  artistic  instinct 
to  analyze  color  composition.  The  entire 
realm  of  animate,  and  inanimate  life,  is 
spread  out  ready  to  parade  before  his 
camera  in  an  unending  procession  of  en- 
chanting color  mystery,  limited  only  by 
his  creative  genius  to  record  with  unerring 
fidelity. 

Kodachrome.  is  the  unfailing  companion 
of  travelers,  trusting  its  collective  power 
to  faithfully  reproduce  the  panoramic 
views,  and  incidents,  of  their  wandering 
experiences  with  a  perpetual  record  of  the 
romances,  and  adventures,  that  have 
dropped  behind  them  to  be  brought  forth 
again  and  again  and  vividly  re-lived  in 
resurrected  memory. 

No  other  contribution  to  the  science  of 
photography  has  become  so  popular  or 
can  produce  such  faithful  color  reproduc- 
tion for  so  little  expense  and  mental 
effort. 


PROCESSJNQ  kodAChROME 


In  a  lecture  at  the  Franklin  Institute, 
Philadelphia,  on  December  28,  Dr.  C.  E.  K. 
Mees,  Vice-President  in  Charge  of  Re- 
search and  Development  for  the  Eastman 
Kodak  Company,  disclosed  that  Koda- 
chrome  film  is  now  processed  by  a  method 
different  from  that  employed  when  it  was 
first  brought  out  in  1935.  The  method  is 
quickei  than  that  originally  used,  better 
quality  results  are  secured,  and  there  ;s 
less  risk  of  damage  to  the  film  because  it 
i>-  handled  fewer  times  in  the  processing. 

Kodachrome  film  carries  three  superim- 
posed sensitive  layers.  The  top  layer  re- 
sponds to  blue  light,  the  middle  layer  to 
green,  arid  the  bottom  to  red.  In  exposure, 
three-color  separations  are  thus  effected  in 
the  depth  of  the  film  coating.    When  the 

16 


film  is  processed,  positive  images  of  dye 
are  formed  in  each  of  the  three  layers. 
The  film  is  first  developed  to  give  a  black 
negative  silver  image  in  all  layers,  and  is 
then  redeveloped  by  the  so-called  reversal 
process  in  special  developers  which  pro- 
duce the  positive  dye  images.  The  color 
of  the  image  in  a  particular  layer  is  com- 
plementary to  that  of  the  light  by  which 
the  layer  was  exposed;  that  is,  the  image 
in  the  bottom  layer  is  processed  to  give  a 
blue-green  (or  cyan)  dye,  that  in  the  mid- 
dle layer  to  a  magenta  dye,  and  that  in  the 
top  layer  to  a  yellow  dye. 

One  of  the  most  ingenious  aspects  of 
Kodachrome  processing  lies  in  the  method 
by  which  the  three  different  dyes  are  pro- 
duced and  confined  to  the  lavers  to  which 


By  burr  McGregor 

The  ardent  photographic  devotee  who 
has  experienced  the  satisfaction  of  ordi- 
nary photographic  reproduction  need  not 
hesitate  to  venture  into  the  realm  of  color 
with  Kodachrome  in  his  camera.  His  ex- 
periences in  black  and  white  photography 
will  be  to  his  advantage,  and  his  results 
will  be  infinitely  more  pleasing;  he  will 
learn  that  color  is  the  contrast  he  should 
seek. 

Many  aspirants  have  hestitated  to  ven- 
ture forth  into  color  photography  because 
of  a  false  mystery  with  which  it  has  been 
expounded,  as  well  as  a  prohibitive  ex- 
pense experiment:  True,  the  expense  is  a 
trifle  more  than  that  of  black  and  white, 
and  the  thoughtful  effort  must  be  more 
painstaking,  but  the  results,  and  that  is 
what  counts  in  any  effort,  are  extremely 
gratifying. 

There  are  "candid"  cameras  on  the  mar- 
ket retailing  at  only  a  few  dollars  with 
which  excellent  results  can  be  obtained  by 
the  careful  student-operator.  Color  repro- 
ductions have  been  created  with  such  cam- 
eras that  have  equaled  exhibition  quality, 
and  have  returned  dividends,  not  only  of 
pleasurable  satisfaction,  but  gratifying  in 
cash. 

Clean,  clear  enlargements  are  success- 
fully reproduced  from  Kodachrome  trans- 
parencies without  loss  of  detail,  or  a  trace 
of  unpleasant  grain.  Reproductions  from 
the  original  color  to  black  and  white  mono- 
chrome, of  commercial  quality,  is  accom- 
plished  with  ease. 

The  enthusiasts  who  yearns  for  movie 
action,  with  his  8mm.  or  16  mm.  camera, 
can  enjoy  raptures  of  delight  through  the 
reproduction  of  scenes,  and  objects,  as 
they  flash  over  the  projection  screen  in 
faithful  shades  of  soft  pastel,  or  brilliant 
sharp  colors  of  reminiscent  experiences. 


they  belong.  The  dyes  are  produced  by 
using  so-called  "coupler  developers,"  in 
which  the  image  is  developed  to  black  sil- 
ver which  is  produced  in  association  with 
a  dye.  The  color  of  the  dye  can  be  deter- 
mined by  properly  selecting  the  compo- 
nents of  the  developer.  In  the  early  meth- 
od of  processing  Kodachrome,  the  colors 
were  confined  to  their  proper  layers  in  the 
following  manner:  After  negative  develop- 
ment, the  silver  was  bleached  and  the  re- 
maining silver  bromide  redeveloped  as  in 
the  reversal  process  to  give  silver  and  cyan 
dye  in  all  three  layers.  By  a  process  of 
controlled  diffusion,  the  dye  in  the  two  up- 
per layers  was  destroyed,  and  the  silver 
in  these  layers  reconverted  to  silver  halide. 
The  two  upper  layers  were  then  developed 


New  4x5  GRAPHIC  VIEW  CAMERA 

Swings,  tilts  and  shifts  of  both  lens  and  film ;  3"  rise  of  the  front ;  bellows 
extensions  from  3"  to  12Vi" ;  reversible  back;  and  combined  camera  base  and 
revolving-tilting  tripod  head  are  some  of  its  many  features.  Without  lens,  with 
case,  $89.  Accordion-type  lens  shade,  shown  above,  available  later  as  an 
accessory.    Down   payment   through   your   Dealer   as    little   as   $18.50. 


Anniversary  SPEED  GRAPHIC 

The  chosen  camera  for  action,  flash  and  all-around 
photography  day  or  night.  Price  of  either  the  31/.»x41/4  or 
the  4x5  Anniversary  Speed  Graphic  with  American-made 
Kodak  Ektar  f/4.7  in  Supermatic  shutter,  $123.50.  Down 
payment    through    your    Dealer    as    little    as    $25.50. 


BV4X3V4  Miniature  SPEED  GRAPHIC 

Has  the  versatility  of  the  Anniversary  Speed  Graphics 
plus  2Vi  x  3!/4  him  size  and  extreme  compactness.  An 
ideal  small  camera  for  synchronized  flash  exposures. 
With  American-made  Kodak  Ektar  f/4.5  lens  in  Super- 
matic shutter,  $117.50.  Down  payment  through  your 
Dealer   as   little   as   little   as   $24. 


GRAFLEX  Varinnraph  EIVLARGER 

This  finest  moderately-priced,  precision-built  enlarger  brings 
new  flexibility  into  the  darkroom.  Have  your  Dealer  demon- 
strate its  variograph  controls  and  many  other  advanced 
features.  A  great  enlarger  for  finest  prints  from  negatives 
2V4"  x  Wa"  and  smaller.  Price,  without  lens,  $87.50.  Pur- 
chase, if  you  wish  on  a  down  payment  through  your  Dealer 
as  little  as  $18. 


"PHOTOGRAPHIC  ENLARGING" 

A  valuable  reference  book  for  any  darkroom  worker.  Written  by 
Franklin  I.  Jordan,  F.R.P.S.  Contains  229  pages,  19  chapters 
covering  practically  every  phase  of  this  work,  T>  illustrations 
most  of  which  are  salon  subjects  and  a  10-page  appendix  of  tables 
and  formulae.   Only   $2.50  at  your  Dealer's. 


For  Top-Quality 
Stills.. .Use 

GRAFLEX-MADE 
Equipment ! 


Quality  stills  are  almost  as  important  to  the  success  of 
a  film  as  the  production  itself.  Make  sure  that  your 
publicity  photographs  will  really  do  a  selling  job,  and 
make  your  job  easier,  by  using  Graflex  American-made 
equipment. 

No  matter  what  your  requirements  may  be,  there's 
a  Graflex-made  product  to  fill  them  perfectly — the  new 
all-metal  4x5  Graphic  View  Camera  for  difficult  angle 
shots  and  all  work  where  maximum  flexibility  is  essen- 
tial; the  Anniversary  Speed  Graphic  for  picture-taking 
day  or  night;  the  Miniature  Speed  Graphic  for  all- 
purpose  versatility  coupled  with  economical  film  size 
and  great  compactness;  and  the  Variograph  Enlarger 
for  making  brilliant  enlargements  from  your  35mm. 
frames  and  all  negatives  up  to  21/^"  x  3^4"- 

See  this  precision-built  equipment  at  your  Graflex 
Dealer's.  When  in  New  York  City  visit  the  Graflex 
Display  Rooms  at  50  Rockefeller  Plaza. 

Send  fnr  FREE  Catalog 

For  further  information  concerning  these  and  other  Graflex- 
made  products,  get  the  Graflex  catalog.  Free  at  your  Dealer's 
or  from  us.  Folmer  Graflex  Corporation,  Department  IP-1, 
Rochester,  New  York,  U.S.A. 


"GRAPHIC  GRAFLEX  PHOTOGRAPHY" 

This  book  by  Willard  D.  Morgan,  Henry  M.  Lester  and  20  other 
experts  is  a  splendid  reference  book  for  any  user  of  the  larger 
camera.  Contains  many  a  time-saving  short-cut  in  its  26  chapters. 
More  than  -100  pages — hundreds  of  illustrations.  $4.00  at  your 
Dealer's  and  at  all  leading  book  stores. 


AMERICAN, 


GRAFLEX  P*#e-WUz*Un<7  CAMERAS 


International  Photographer  for  March,  1941 


17 


in  a  solution  which  produced  black  silver 
in  association  with  a  magenta  dye.  By  a 
second  bleach  bath,  the  dye  in  the  top  lay- 
er was  destroyed  and  the  silver  reconverted 
to  silver  halide.  The  top  layer  was  then 
developed  in  a  solution  which  produced 
black  silver  and  a  yellow  dye.  As  a  final 
step,  the  silver  was  removed  from  all  three 
layers,  leaving  only  the  dye  images. 

The  earlier  method  required  three  separ- 
ate developments  on  three  continuous  pro- 
cessing machines  and  drying  between  the 
machines.  In  the  new  method  the  film  is 
processed  continuously  on  a  single  ma- 
chine. First  it  is  developed  to  give  a  black- 
and-white  negative.  The  three  layers  are  so 
sensitized  that  the  sensitizing  dyes  are  not 
harmed  by  this  first  development,  and, 
therefore,  the  layers  are  still  sensitive  re- 
spectively to  red,  green  and  blue  light  in 
later  stages  of  the  processing.  After  the 
negative  development,  the  film  moves 
through  the  machine  to  a  point  where  it 
is  exposed  to  red  light  through  the  back. 
This  affects  only  the  back  layer,  which  is 
red  sensitive,  and  the  film  is  then  passed  to 
a  cyan  developer  which  develops  color  only 
in  the  back  layer  without  affecting  the  two 
upper  layers.  After  this  stage,  the  film  is 
exposed  to  blue  light  from  above.  This 
exposure  affects  only  the  top  layer,  which 
can  then  be  developed  in  a  solution  pro- 
ducing a  yellow  dye.  Finallv.  the  middle 
layer  is  developed  to  a  magenta  dye. 

As  before,  silver  is  produced  when  these 
dye  developers  function,  so  this  has  to  be 
removed  from  all  three  layers,  leaving  a 
final  film  having  only  three  superposed 
dye  images.  After  processing,  the  film  is 
dried,  and  it  is  returned  lo  the  photogra- 
pher for  projection  in  amateur  motion  pic- 
ture machines,  miniature  slide  projectors, 
etc. 

Bull  Fighters  Must  Be  Well  Dressed 

Even  Alice  Faye  when  she  played  Lillian 
Russell  didn't  have  a  layout  of  costumes 
like  Tyrone  Power  will  wear  in  his  next 
movie. 

Twentieth  Century-Fox  will  give  Tyrone 
24  costumes,  eight  of  which  cost  $2,000 
each,  for  his  role  as  a  matador  in  "Blood 
and  Sand"  which  the  studio  will  film  in 
Technicolor. 

Even  at  $2,000  an  outfit,  the  studio 
won't  be  indulging  in  any  extravagant 
whims.  Most  matador  costumes  run  be- 
tween $5,000  and  $10,000  each,  including 
precious  slnucs.  and  one  that  Armillita, 
the  most  famous  of  all  bull  fighters,  will 
wear  in  "Blood  and  Sand"  cost  $23,000. 

The  studio's  wardrobe  department  has 
kept  10  ^'irls  bus\  for  the  last  six  weeks 
making  the  costumes.  Each  outfit  includes 
inner  and  outer  stockings,  pumps,  silk 
knee  breeches,  silk  shirt,  four  yards  of 
waist  sash,  a  gold-embroidered  waistcoat 
studded  vsith  gems,  a  hat,  and  a  cape  of 
-ilk  that  is  covered  with  gold  embroidery. 

Tyrone's  wardrobe  budget  will  be  triple 
that  of  Linda  Darnell  who  plays  opposite 
him. 


No  More  Typing 

A  Hollywood  which  used  to  be  accused 
of  typing  the  stars  too  much,  has  changed 
policy  so  radically  that  nowadays  you  can 
even  find  Kay  Francis  playing  a  slinky 
adventuress  instead   of  a  glamour  girl. 

It  wasn't  always  so,  of  course.  Until 
Producer-Director  Herbert  Wilcox  came 
along  to  give  her  straight  roles,  ZaSu  Pitts 
was  mainly  a  pair  of  fluttery  hands.  Will- 
iam Powell  once  cancelled  his  contract  be- 
cause the  movies  made  him  a  suave  society 
heavy. 

But  nowadays  producers  recognize  a 
good  player  is  a  versatile  one — or  should 
be.  Players  themselves  had  a  lot  to  do 
with  forcing  the  change.  Ginger  Rogers 
wouldn't  stay  typed,  but  hung  up  the 
dancing  shoes  which  brought  her  fame  to 
play  dramatic  roles — and  now  look  at  her 
"Kittv  Fovle,"  which  placed  Ginger  in  top 
bracket  as  winner  of  the  Academy  Award. 

Carole  Lombard  refused  to  be  tagged 
screwball  forever.  Bette  Davis  insisted  on 
varying  roles. 

The  men,  too.  Robert  Montgomery 
shucked  playboy  roles  for  the  murderer  in 
his  memorable  "Night  Must  Fall/'  Robert 
Taylor  demands  rough-and-tough  parts. 
John  Barrymore  lends  his  profile  to 
comedy. 

As  marked  as  any  player-transition,  if 
not  the  most  pronounced,  is  what  Kay 
Francis  has  done  with  her  roles. 

Of  all  the  glamour  girls,  she  seemed 
the  one  most  fixed.  But  she  also  decided 
to  show  her  versatility,  first  played  that 
heavy  with  Cary  Grant  and  Carole  Lom- 
bard, swung  then  to  the  role  of  the  mother- 
ly Jo  in  "Little  Men."  Now — well,  wait  till 
the  fans  see  her  as  the  adventuress  in  RKO 
Radio's  "Play  Girl" — the  role  of  a  woman 
who  lived  by  fascinating  men  until  the 
years  made  her  change  her  tactics. 

This  one  really  proves  the  typing  buga- 
boo has  joined  the  dodo. 


HiSTORICAl 

Facts 

(Continued  from  page  11) 

Pan  was  a  success  from  the  first,  and  I 
used  it  for  years,  to  be  exact  until  the  ad- 
\ent  several  years  ago  of  Super  XX. 

Up  to  the- coming  of  stereo  backgrounds 
one  emulsion  was  usually  satisfactory  for 
an  entire  production,  but  the  stereo  pre- 
sented a  chance  for  the  still  men  to  spread 
themselves.  I  followed  the  crowd.  I  made 
background  negatives  on  several  films,  and 
still   do. 

For  fine  grain  I  use  Panatomic  X  or 
Portrait  Ran.  For  fine  shadow  detail. 
Super  Panchro  Press.  I  find  these  three 
Eastman  films  gave  me  a  fine  selection  that 
react  differently  enough  to  various  filters 


that  I  can  give  the  process  department  al- 
most any  desired  effect. 

I  carry  both  5x7  and  8  x  10  film  for 
backgrounds,  and  use  the  14"  Ektar  coated 
lens  exclusively.  This  new  piece  of  equip- 
ment makes  possible  stereo  plates  of 
hitherto  unsurpassed  brilliance,  roundness, 
and  sharpness  over  the  entire  field. 

I've  had  a  lot  of  success  with  the  new 
coated  Ektar  on  Kodachrome.  It  produces 
a  color  transparency  of  that  lovely  stereo- 
scopic quality,  and  intense  sharpness  of 
detail  that  we  all  strive  for  since  color  has 
been  added  to  our  bag  of  tricks. 

Finally  I  include  now-a-days  several 
dozen  Eastman  Infra  Red  cut  film  for 
cloud  effect  backgrounds,  and  occasion- 
ally use  it  to  shoot  an  Indian  if  he  happens 
to  be  backed  up  against  the  skyline  where 
he  can't  fight  back. 

A  Good  Part  At  The  Right  Time 

Joan  Fontaine,  now  co-starring  with 
Cary  Grant  at  RKO  Radio  in  the  Alfred 
Hitchcock's  new  thriller,  "Before  the  Fact," 
is  movietown's  leading  example  of  what 
one  good  part  at  the  right  time  will  do 
for  a  player. 

It  was  her  role  in  the  recent  "Rebecca," 
which  Hitchcock  directed,  that  lifted  her 
from  stock  player  ranks  to  stardom  .  .  . 
before  that,  during  three  years  on  the 
screen,  she'd  played  in  stock  at  the  same 
studio  where  now  she's  starring,  later  had 
been  a  freelance  player. 

"Rebecca"  not  only  brought  stardom 
but  one  of  the  five  nominations  for  "best 
actress  of  1940"  voted  on  by  members  of 
the  Academv  of  Motion  Picture  Arts  and 
Sciences. 

Joan  Blondell  To  Pose  For  Sculptor 

On  the  commission  of  the  American 
Mothers'  Society  of  New  York,  which  has 
voted  Joan  Blondell  "the  most  glamurous 
mother  in  America"  for  the  second  con- 
secutive vear,  \ucca  Salamunich,  eminent 
Jugo-Slavian  sculptor,  arrived  here  last 
week  to  execute  a  bust  of  the  Hollywood 
star. 

Jack  Oakie  Signed  for  "Navy  Blues"''' 

•  Jack  Oakie  has  been  signed  by  Warner 
Bros,  to  plav  the  leading  featured  role  op- 
posite Eddie  Albert  in  "Navy  Blues."  Slat- 
ed for  production  during  the  early  spring, 
"Navy  Blues"  will  be  laid  in  and  around 
the  San  Diego  naval  base  and  on  the  decks 
of  various  United  States  men-of-war.  An 
original  storv  by  Arthur  Horman  is  being 
adapted  for  the  screen. 

New  Burke  &  James  Catalogue 

A  brand  new  92  page  Burke  &  James  catalogue 
announcing  several  new  and  improved  items  is 
now  available  to  readers  of  INTERNATIONAL  l'llo 
TOGRAPHER.  Among  the  new  important  items  are 
a  Solar  model  IV  enlarger  for  314x414  negatives 
or  smaller,  the  sensational  new  Grover  Flexible 
camera,  a  silent  mercury  contact  foot  switch,  and 
a  Studio  camera  back  for  4x5  and  5x7  Solar 
enlargers.  Also  included  is  a  listing  of  new  and 
used  lenses  from  one  of  the  nations  finest  stocks. 
Ask  for  free  catalogue  No.  141-N  from  Burke  & 
James,  Inc..  223  W.Madison  St.,  Chicago,  Illinois. 


18 


pMeNr 


USE 


Y*A*s  n 

from  which 
.  The  P^neer  orgag^s  lnc.  has 
National  Carbon  Comp^  ^  h  t 
„rovvn,  was  fo*n^d  '  Rational  car 
the  intervening  60  year^  and  x 

bon6,  by  constant  «^  ed  and 

Senrrneedsofthet^e. 


MOTION  PICTURE  STUDIO  AND 
HIGH    INTENSITY    CARBONS 


NATIONAL    CARBON    COMPANY,    INC. 

Unit  of  Union  Carbide  and  Carbon  Corporation 


Carbon  Sales  Division,  Cleveland,  Ohio 

GENERAL  OFFICES 
30  East  42nd  Street,  New  York,  N.  Y. 

BRANCH  SALES  OFFICES 
New  York,  Pittsburgh,  Chicago,  St.  Louis,  San  Francisco 


International  Photographer  for  March,  1941 


19 


on  Iocatjon  For  bAckqROUNtJs 


By  HARRY  PERRY 


Harry  Perry  started  as  a  cameraman  hack  in 
1918.  He  has  made  five  trips  hack  and  forth  to 
Europe  in  the  last  few  years  for  different  Holly- 
wood studios.  When  the  war  started  he  was 
making  shots  around  Monte  Carlo  for  Selznick, 
hut  was  forced  to  leave  in  September,  1939,  be- 
fore his  work  was  finished.  The  authorities  would 
not  permit  him  to  work  in  the  district  because  of 
troop  movements.  He  returned  home  on  a  boat  so 
crowded  that  he,  with  about  fifty  others,  slept 
on  cots  in  the  bottom  of  the  swimming  pool 
I  minus  the  water) . 

During  the  past  six  or  seven  years  most  of  his 
work  has  been  on  location  trips,  last  year  going 
to  the  Bahamas  and  New  York  for  backgrounds 
for  "Honeymoon  in  Bali." 

Despite  the  fact  that  Perry  is  a  globe  trotter 
who  has  visited  countries  known  and  unknown, 
he  always  finds  his  work  exciting  and  enjoys 
each  new  experience. —  (Editorial  Note.) 

Last  October  Paramount  sent  me  to  New 
York  to  photograph  hackgrounds  for  "The 
New  Yorker,"  directed  by  Charles  Vidor. 
Stanley  Goldsmith,  assistant  director,  was 
in  charge,  accompanied  by  Curtis  Mick, 
production  manager.  We  were  successful 
in  making  some  difficult  shots;  quite  a  few 
on  Fifth  Avenue  around  the  RCA  Build- 
ing, where  they  had  to  hold  the  crowd  back 
for  minutes  at  a  time.  This  was  a  prob- 
lem, especially  at  noon,  which  was  the  only 
time  we  could  work  to  get  the  light  across 
Fifth  Avenue. 

Some  night  shots  were  made  on  Fifth 
Avenue,  shooting  across  from  Saks  Store 
toward  the  RCA  Building.  On  these  we 
used  lights  on  the  Avenue  and  the  build- 
ings across  the  street. 

Another  shot  presenting  complications 
was  Times  Square  just  at  dusk.  We  used 
a  few  Photo-floods  for  the  foreground  ac- 
tion. All  the  big  signs  were  wanted,  in- 
cluding Wrigley's  and  the  Paramount  The- 
atre and  the  traffic  going  across  Forty- 
second  Street  at  Broadway.  By  the  time 
we  got  started  thousands  of  people  had 
crowded  up  and  it  took  a  lot  of  policemen 
to  keep  them  from  running  the  camera 
down.  Finally  we  had  to  get  on  a  plat- 
form so  they  would  not  push  the  camera 
over. 

We  took  several  shots  from  the  Brooklyn 
Bridge,  doubling  in  the  lights  of  the  Bat- 
tery and  up-town  building  lights  and  for- 
tunately the  sway  of  the  bridge  did  not 
affect  the  double  exposure  at  all. 

After  finishing  in  New  York  I  received 
word  to  go  to  the  West  Indies  for  location 
shots  with  a  16mm  camera  for  a  picture 
to  be  made  by  E.  II.  Griffith,  called  "Dildo 
Cay."  E.  D.  Leshin,  production  manager 
in  charge  of  assignment,  was  sent  from  the 
studio  to  \'cw  York  to  complete  arrange- 
ments. 

We  flew  to  Miami,  where  we  staved  one 
day,  then  took  the  Pan  American  Air  Finer 
to  Port  au  Prince,  Haiti.  Upon  our  arrival 
there  we  found  we  had  missed,  by  just  one 


day,  the  monthly  liner  that  stops  at  the 
Grand  Turk  Islands  on  its  way  to  New 
York.  We  had  to  get  to  these  islands,  so 
it  was  up  to  us  to  find  a  boat  that  would 
take  us  there.  We  spent  two  or  three  days 
at  Port  au  Prince,  trying  to  find  a  boat 
capable  of  making  the  trip,  then  made  a 
very  interesting  drive  across  the  island, 
about  two  hundred  miles  over  very  rough 
roads.  The  villages  were  fascinating,  with 
their  grass  covered  houses  and  little  naked 
children  running  around.  At  one  spot  by 
the  side  of  the  road  we  passed  a  native 
girl  of  about  eighteen  sunning  her  naked 
body  on  the  bank  of  a  small  stream  and  so 
unself-conscious  that  she  scarcely  noticed 
us  when  we  went  by. 

We  had  to  ford  several  streams  with  the 
car.  After  a  heavy  rain  this  would  have 
been  impossible.  Our  destination  was  Cap 
Haiti,  where  we  arrived  late  in  the  evening. 

Now  we  had  to  find  a  boat  with  a  motor. 
Sounds  simple,  but  we  were  unable  to  ac- 
complish it.  All  of  the  boats  were  of  the 
plain  sail  type,  manned  by  natives,  so  fin- 
ally we  were  forced  to  engage  one  of  these. 
We  got  the  best  boat  to  be  had,  about  forty 
feet  long  and  manned  by  a  crew  of  six 
natives.  There  were  no  lights,  no  life  pre- 
servers, no  cabin.  A  light  leaky  row  boat 
was  carried  which  would  have  accommo- 
dated only  half  the  crew  if  we  had  needed 
it. 

We  started  out  for  Grand  Turk  Islands 
about  four  o'clock  in  the  afternoon,  ran 
into  a  heavy  wind  the  first  night — which 
took  us  along  like  an  express  train — as 
well  as  making  us  feel  very  bad  for  quite 
a  while.  Then  due  to  the  lack  of  lights 
we  had  the  experience  of  being  almost  run 
down  by  a  liner.  We  were  saved  by  the 
use  of  my  flashlight,  which  I  flashed  back 
and  forth.  They  passed  about  fifty  feet 
to  one  side  of  us. 

We  were  supposed  to  get  to  our  destina- 
tion next  day,  but  did  not  make  it  until 
the  following  Monday.  The  second  night 
out  we  ran  into  some  reefs  and  had  to  an- 
chor there  all  night.  The  third  day,  Sun- 
day, we  were  becalmed  for  twenty  hours, 
about  twenty  miles  from  our  goal.  Finally 
a  light  breeze  came  up  and  it  took  us  five 
hours  to  make  the  twenty  miles,  reaching 
the  islands  called  Grand  Turk  and  Salt 
Cay,  about  which  the  book  "Dildo  Cay" 
was  written. 

On  Grand  Turk  Island  we  were  the 
guests  of  the  English  Commissioner,  as 
there  are  no  hotels  nor  accommodations. 

In  Salt  Cay  we  were  the  guests  of  the 
Herriott  family.  There  are  about  three 
hundred  and  fifty  native  blacks  on  the 
island  and  there  are  six  people  in  the 
Herriott  family,  the  only  white  people 
there.    The   Herriott    family   have   been    in 


the  salt  business  there  since  1820.  They 
were  very  helpful  to  us  in  getting  our 
shots.  The  pictures  we  made  at  Salt  Cay, 
covering  several  hundred  acres  of  ground, 
showed  the  evaporation  tanks  and  the  sys- 
tem of  making  salt.  They  have  windmills 
for  power,  carrying  the  water  in  and  out 
of  the  different  tanks.  It  also  was  inter- 
esting to  watch  them  load  sacks  of  salt 
into  little  lighters  or  sailboats,  taking  them 
to  the  big  liner  and  transferring  them  to 
the  hold. 

After  finishing  there  we  had  to  get  to 
another  island  twenty  miles  away,  called 
East  Harbor.  This  necessitated  another 
rough  sailboat  ride  of  about  five  hours. 
We  were  in  East  Harbor  for  two  days. 
Then  Paramount  Studios  sent  a  plane  to 
pick  us  up  and  take  us  seven  hundred  miles 
to  Miami.  Upon  our  arrival  there  we  went 
to  Key  West  along  the  new  automobile 
road  which  was  built  several  years  ago 
after  a  hurricane  took  out  the  railroad.  We 
took  pictures  of  the  town,  the  old  resi- 
dences, coral  reefs,  and  some  in  the  vicin- 
ity of  the  Mangrove  Islands,  near  Key 
West,  location  shots  for  research  work  for 
a  production  to  be  made  by  Cecil  B.  De 
Mille. 

We  left  Key  West  on  Christmas  morn- 
ing, got  back  to  Miami  about  noon,  stayed 
the  afternoon,  then  took  the  train  that  eve- 
ning for  St.  Augustine,  Florida,  where  we 
went  to  see  the  Marine  Gardens,  about 
twenty  miles  south  of  the  city.  Here  we 
made  shots  for  possible  use  in  under-water 
scenes  for  "Reap  the  Wild  Wind." 

These  gardens  are  very  unusual  and  in- 
teresting. They  are  in  two  very  large  tanks, 
with  all  the  most  modern  ways  and  means 
of  temperature  control  and  proper  circula- 
tion of  water.  Both  tanks  have  a  lot  of 
flora  and  coral  for  backgrounds,  which 
make  it  look  like  the  bottom  of  the  sea. 

In  one  of  the  tanks  are  many  large  por- 
poises, lots  of  turtles  and  other  fish  which 
are  not  ferocious. 

On  the  bottom  of  the  tank  and  along 
the  sides  are  probably  a  hundred  port- 
holes through  which  visitors  may  watch  the 
fish.  A  diver  goes  down  and  feeds  them. 
The  porpoises  are  very  playful  and  take 
fish  from  his  hand. 

In  the  bottom  of  the  other  tank,  swim- 
ming around  the  wrecked  hull  of  a  ship. 
are  seven  or  eight  man-eating  sharks,  two 
big  baracuda  and  some  morays,  and  many 
other  varieties  of  fish,  all  of  which  are 
ferocious.  The  diver  goes  down  to  this 
tank  also  and  entertains  the  spectators 
who  look  through  the  portholes.  There 
probably  are  five  hundred  to  a  thousand 
visitors  every  day  who  pay  a  dollar  and 
ten  cents  admission,  and  it  is  well  worth 
the  price. 


20 


IN   PERFECT 
AGREEMENT 


EASTMAN  negative  films  —  each  in  its 
special  field — work  in  perfect  agreement 
with  director  and  cameraman  to  capture 
completely  the  beauty  of  every  scene. 
Eastman  Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chit-ago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  little  light  is  available 

BACKGROEND-X 

for  backgrounds  and  general  exterior  work 

EASTMAN  NEGATIVE  FILMS 

International  Photographer  for  March,  1941  21 


l6MM.  dEpARTMENT 


Some  Notes  on  Color 

There  are  three  nerve  fibrils  in  the 
human  eye:  one  of  them  is  sensitive  to  red, 
the  second  to  yellow,  and  the  third  to  blue. 
All  of  the  colors  as  we  see  them  are  made 
up  of  various  combinations  of  these  three 
basic  colors:  magenta,  for  example,  excit- 
ing the  red  and  the  blue  fibrils  simultane- 
ously and  giving  rise  to  the  sensation  of 
the  purplish  hue  as  we  know  it:  any  varia- 
tion in  the  shade  of  magenta  will  cause  a 
variation  in  the  ratio  of  the  excitation  of 
these  two  fibrils  and  will  cause  a  corres- 
ponding response. 

All  color  photography  consists  basically 
of  breaking  down  the  original  scene  into 
its  components  so  that  these  components 
may  be  recorded  photographically,  and 
then  combining  them  again  for  the  final 
print.  This  process  is  known  as  color 
separation.  All  of  the  many  methods  of 
color  photography  have  this  process  of 
color  separation  in  common,  though  their 
methods  may — and  do — vary  considerably. 

The  earliest  and  simplest  form  of  color 
photography  was  employed  in  still  photog- 
raphy. Here  a  still  life  object  was  pho- 
tographed on  three  different  negatives — 
one  negative  through  a  red  filter,  one 
through  vellow,  and  one  through  blue.  All 
three  of  the  negatives  so  obtained  were 
black  and  white.  The  final  color  print  was 
obtained  by  making  prints  from  these 
negatives  on  thin  tissues  which  were  pig- 
mented with  a  color  determined  bv  the 
color  of  the  filter  used  to  expose  that  par- 
ticular negative,  and  by  combining  these 
three  tissues. 

The  exposure  of  three  separate  nega- 
tives at  three  different  times  precludes  the 
possibility  of  taking  moving  objects,  and 
for  a  time  it  was  possible  to  photograph 
only  still  life  objects.  With  the  poising 
of  the  problem  of  obtaining  color  separ- 
ation negatives  simultaneously,  several  dif- 
ferent methods  presented  themselves.  The 
simplest  of  these  is  known  as  the  bi-pack 
method.  In  this  system  two  films  are  used 
— one  of  them  ( the  one  towards  the  lens ) 
is  a  color  blind  material  not  sensitive  to 
red  and  having  a  red  backing,  against 
which  is  placed  a  standard  panchromatic 
emulsion  which  is  highly  sensitive  to  red. 
Color  separation  is  obtained  by  recording 
the  blue  and  yellow  (or  green)  light  on 
the  firsl  film,  its  blindness  to  red  light 
creating  the  same  effect  as  placing  a  green 
filter  in  front  of  this  emulsion.  The  green 
light  is  then  filtered  out  by  the  red  back- 
in"  on  this  film  acting  as  a  filter  for  the 
panchromatic  emulsion  behind  it.  This 
gives  us  what  is  known  as  a  two-color  pro- 
cess, because  only  two  films  are  used  in 
the  color  separation. 

A  second  process  developed  is  the  Tech- 
nicolor process.  In  this  system  three  color 
separation     negative     are     obtained.     Two 


prisms  are  used,  and  their  hypotenti  ce- 
mented together  so  that  their  appearance 
resembles  a  cube.  By  means  of  a  coating 
on  the  surfaces  in  contact  we  have  a  unit 
which  acts  as  a  partial  transmitter  and  a 
partial  refractor.  In  other  words  part  of 
the  light  entering  the  prisms  from  the  lens 
will  go  right  on  through  while  part  of  it 
will  be  reflected  to  one  side.  Having  di- 
vided the  light  in  this  manner,  it  is  pos- 
sible to  place  filters  in  any  desired  com- 
bination, utilizing  the  bi-pack  principle  of 
two  films  on  one  side  and  a  single  film  on 
the  other.  Here,  too,  the  printing  process 
is  one  of  pigmentation  of  the  prints  from 
black  and  white  negatives. 

Unfortunately,  these  two  basic  prin- 
ciples are  not  adapted  to  amateur  work. 
They  are  expensive,  and  their  complicated 
nature  would  not  make  for  the  convenience 
and  light  weight  that  is  of  such  consider- 
ation in  amateur  work.  It  was  apparent, 
then,  that  an  entirely  different  approach 
would  have  to  be  made  to  the  problem,  in 
order  to  secure  direct  color  on  a  reversible 
film  with  no  appurtenances.  The  old  Koda- 
color  process,  which  did  make  it  possible 
to  get  direct  color  on  reversible  film,  had 
the  disadvantages  of  being  very  grainy, 
not  being  sharp,  being  very  slow,  and  re- 
quiring special  filters  not  only  on  the  cam- 
era but  on  the  projector  as  well — and  the 
ultimate  result  was  only  mediocre  color. 

Kodachrome,  seems  to  have  achieved  the 
ideal.  It  is  needle-sharp,  capable  of  per- 
fect color  rendition,  needs  no  corrective 
filters  if  the  properly  balanced  emulsion 
(either  interior  or  exterior)  is  used  for 
the  condition  at  hand,  needs  nothing  in  the 
way  of  projector  gadgets,  is  reasonably 
fast,  and  has  no  grain. 

While  the  exact  prcesses  involved  in 
Kodachrome  are  a  manufacturer's  secret, 
the  known  facts  should  make  it  possible 
to  present  a  working  knowledge  of  the 
system. 

The  sensitive  emulsion  on  Kodachrome 
consists  of  three  separate  emulsions,  ce- 
mented together  by  a  very  thin  layer. 
Each  one  is  sensitive  to  one  of  the  primary 
colors,  allowing  for  some  overlap.  Under- 
neath the  coating  adjacent  to  the  lens  is  a 
thin  coating  constituting  a  yellow  filter. 
It  is  in  this  manner  that  the  actual  separ- 
ation is  achieved.  When  Kodachrome  is 
developed,  it  is  first  treated  in  the  usual 
manner  of  a  reversible  film — that  is,  it  is 
first  developed  negative,  then  the  reduced 
silver  bleached  off,  the  film  exposed  to 
light,  and  developed  again  to  obtain  the 
positive.  Up  to  this  point  there  is  no  color 
on  the  film. 

The  black  and  white  in  the  three-color- 
separation  emulsions  at  this  state  corres- 
ponds to  the  negatives  made  by  exposing 
three  separate   films   through   three  filters. 


except,  of  course,  that  the  image  has  al- 
ready been  reversed  in  the  Kodachrome 
and  we  have  a  positive. 

The  color  is  obtained  by  the  reaction  of 
a  "color  developer"  upon  a  "color  coup- 
ler." We  are  all  familiar  with  the  sight 
of  red  rust  on  steel  rails  after  a  rain. 
When  a  copper  penny  is  found  in  the  mud 
it  will  have  a  greenish-blue  color.  Notice, 
too,  the  yellow  flame  after  salted  water  has 
boiled  over  on  the  stove.  All  metals  have 
a  characteristic  color,  and  when  they  are 
combined  in  a  salt  of  the  metal  it  becomes 
visible.  The  rain  acting  on  the  rail  forms 
iron  oxide;  the  water  in  the  mud  acting 
on  the  penny,  copper  oxide.  The  "table 
salt"  in  the  boiling  water  is  the  salt  of 
sodium  known  as  sodium  chloride;  color 
is  not  visible  until  placed  in  a  flame,  when 
its  characteristic  color  of  yellow  becomes 
visible.  Now,  in  the  examples  of  the  steel 
rails  and  the  copper  penny  we  can  call 
the  rails  and  the  penny  "color  couplers" 
and  the  rain  and  the  mud  "color  develop- 
ers." In  the  case  of  the  boiling  water,  the 
salt  water  will  be  the  "color  coupler"  and 
the  flame  the  "color  developer."  In  Koda- 
chrome three  different  color  couplers  are 
used  to  treat  the  film  after  reversal,  and 
these  are  acted  upon  by  the  color  develop- 
ers to  obtain  the  desired  color.  Actually, 
the  process  is  considerably  more  intricate. 
First,  all  three  layers  of  the  film  are  treat- 
ed with  one  coupler  and  developer.  A 
bleach  is  then  used  to  remove  the  color 
from  the  two  upper  emulsions,  but  not  on 
the  one  closest  to  the  base.  Another  coupler 
is  then  used  for  these  two  layers,  but  not 
the  third  already  colored,  and  this  is  acted 
upon  by  the  color  developer.  The  bleach 
is  then  used  on  the  top  layer,  but  is  not 
permitted  to  act  on  the  bottom  two.  A 
third  color  coupler  is  then  used  on  the  top 
layer,  but  not  permitted  to  act  on  the  two 
layers  already  colored.  These  color  coup- 
lers are  chemical  compounds  which,  when 
acted  upon  by  the  color  developer,  will 
yield  the  color  desired  for  that  particular 
color-separation  positive.  The  black  and 
white  positive  permits  more  or  less  den- 
sity of  the  color  to  be  evident,  resulting 
in  the  gradations  in  the  original  scene. 

It  is  to  be  emphasized  that  the  exact 
process  is  a  secret  of  the  manufacturer. 

By  means  of  varying  the  correction  of 
the  yellow  filter  underneath  the  first  layer, 
we  can  "correct"  the  film  for  the  blue 
light  of  the  outdoors  or  the  yellow  light  of 
mazdas. 

Because  of  patent  complications,  Koda- 
chrome has  thus  far  been  balanced  only 
for  photoflood  light  in  cinema  film.  It 
has,  however,  been  balanced  for  standard 
studio  mazdas  in  the  still  films. 

New  B&H  2000-foot  Film  Reel 

Completing  the  Bell  &  Howell  line  of  16mm. 
projection  reels  is  the  new,  2000-foot  spring-steel 
reel  recently  introduced.  The  newest  addition 
will  permit  an  hour's  continuous  projection  of 
sound  film,  an  hour  and  a  half  of  silent  film. 
Trice   $4.00. 


22 


Eastman  New  Sound  Kodascopes 
Most  versatile  of  the  new  "F"  series  of  Sound  Kodascopes 
are  the  FB-25  and  the  FB-40.  These,  with  their  higher  power 
output  (25  and  40  watts),  larger  single  or  twin  speakers, 
soundproofed  "blimp"  eases  and  sound-mixing  facilities, 
are  eminently  suited  for  controlled  sound  projection  of 
highest  quality  hefore  large  assemblies. 


Five  New  Sound  Kodascopes 

Five  superb  new  16mm  sound  projectors,  priced 
from  $295  to  $520,  and  covering  the  widest  range 
of  school,  industrial,  and  home  needs,  are  an- 
nounced by  the  Eastman  Kodak  Company,  Roches- 
ter, New  York. 

Similar  to  one  another  in  exterior  design,  but 
differentiated  in  power  output  and  other  features, 
'  these  new  Sound  Kodascopes  offer  a  complete 
line  from  which  the  lecturer,  school  authority, 
business  man,  sales  organization,  club  or  church 
group  can  select  a  model  that  precisely  fits  exist- 
ing projection  requirements.  For  each  projector, 
!  a  choice  of  six  lenses  is  available,  in  focal  lengths 
of  1  to  4  inches,  to  fit  all  the  commonly-used 
(     projection   distances  and   screen   sizes. 

Power  output  10  watts  up  to  40  watts;  special 
design  for  smooth  film  movement  assures  high 
sound  quality;  either  variable  area  or  variable 
density  can  be  used  on  all  models;  some  sup- 
plied with  double  speakers  and  sound  mixing 
controls. 

Detailed  descriptive  literature  is  available 
through  Cine-Kodak  and  Kodascope  dealers. 

New  Low  Prices  on  Two  B&H  Models 

The  famous  Bell  &  Howell,  Filmo  Master  8, 
all-gear  drive,  8mm.  projector  has  been  reduced 
in  price  to  $99.50  and  Filmo  Sportster  8mm. 
camera  is  now  priced  at  $69.50.    Bell   &   Howell 


states  that  neither  quality  nor  features  have  been 
modified   in   any  way. 

Bell  &  Howell  Filmo  Eight  "400" 

The  Filmo  Eight  "400",  newest  unit  in  the  Bell 
&  Howell  8mm.  line,  is  just  announced.  Taking 
8mm.  reels  of  up  to  400-foot  capacity,  the  new 
"400"  will  present  a  full  half  hour  of  8mm. 
movies  without  the  interruption  of  changing  reels. 

The  Filmo  Eight  "400"  is  priced  at  $112.50; 
400-foot  reels  and  cans,  60c  each.  For  further 
particulars,  write  to  Bell  &  Howell  Company, 
1801   Larchmont  Avenue,  Chicago,  Illinois. 

New  Victor  Camera 

A  series  of  modifications  have  been  worked 
out  in  the  Victor  16mm.  camera  which  I  he  manu- 
facturer states  are  of  sufficient  importance  to 
warrant   considering   it   as  a   new  camera. 

The  new  unit,  called  the  Aircraft  model  is 
said  to  turn  in  results  of  remarkable  accuracy 
at  all  speeds  over  a  range  of  temperature  down 
to  zero  and  even  lower.  In  fact  the  speed  tests 
were  made  in  a  cold  storage  warehouse  at  — 10° 
and  the  camera  was  left  over  night  to  simulate 
the  toughest  conditions  likely  to  be  encountered 
in  practice.  The  speeds  were  tested  with  a  neon 
type  stroboscope  and  the  settings  of  the  instru- 
ment were  not  touched  during  the  run  at  any 
(Continued  on  page  28) 


SOLAR 

The  magic  transformation  of  little  negatives  into 
big  beautiful  enlargements  is  the  everyday  work 
of  a  Solar  .  .  .  the  enlarger  that  does  everything. 
It  gives  you  every  essential  adjustment  plus  ex- 
clusive patented  features  for  producing  'prize 
winning'  enlargements  from  your  most  ordinary 
negatives.  Your  big  thrill  in  photography  will  come 
when    you    make   your    first    Solar   enlargement. 

ITS  A  CAMERA,  TOO! 

Available  for  interchange  with  the  Solar  lamp 
house  is  a  camera  back  that  converts  the  enlarger 
into  a  regular  type  view  camera — ideal  for  por- 
traiture, copying,  still  life,  table  top  work,  etc. 
Eight  Solar  models  cover  negative  sizes  from 
35mm.   to  5x7  inches.   Prices  start  at  $39.50. 

FREE  TREATISE 
ON  ENLARGING 


A  comprehensive  vol- 
ume that  covers  every 
branch  of  enlarging.  Pro- 
fusely illustrated.  Written 
by  experts  in  the  ama- 
teurs own  language.  Tells 
you  how  to  produce  prize 
winning  enlargements. 
Gives  valuable  tips  and 
short  cuts.  Write  for 
Enlarging  Treatise  IP341. 
It's  FREE 


BURKE  &  JAMES,  Inc. 


223  W.  Madison  St. 


CHICAGO,   ILLINOIS 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing    Machines,    Bipack 
Color  and  Black  and   White  Printers,  Re- 
winds. 
Special    Machinery    built    to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:    "CINEBARSAM" 


International  Photographer  for  March,  1941 


23 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


HLEVISIOIl 


Judge  Joseph  Marchetti  and  Catherine  Sibley  considering  pictorial  composition  as 
appf.ied  to  television.  The  illustration  being  considered  is  from  a  recent  issue  of 
International  Photographer.  Judge  Marchetti,  it  will  be  recalled,  performed  the  first 
wedding  ceremony  to  take  place  over  television.  For  introduction  to  Miss  Sibley  of 
the  University  of  California  Extension  Division  read  the  story  on  this  page. 


The  New  Frontier 

Among  the  younger  artists  who  are  one 
by  one  casting  their  lot  with  the  future  of 
Television,  is  Catharine  Sibley,  actress, 
writer,  and  former  production  associate  of 
Max  Reinhardt. 

"My  belief  in  Television,"  says  Miss 
Sibley,  "is  that  it  will  become  one  of  the 
greatest  living  social  forces  known.  It  will 
equalize  opportunity  in  many  fields  par- 
ticularly in  education. 

"I  see  it  becoming  the  great  distributor 
of  the  worlds  goods  both  as  far  as  mer- 
chandising is  concerned,  and  making  new 
and  remunerative  enterprises  possible.  A 
hint  as  to  the  new  age  of  leisure  arts  in 
theater,  dance,  and  design,  which  television 
might  open  up  is  to  be  seen  in  the  wide- 
spread interest  and  profitable  patronage  of 
music  that  radio  has  brought  about. 

"My  fear  for  Television,"  continues 
\li^-  Sibley,  "is  that  during  this  difficult 
period  of  technical  perfecting  that  lies 
immediately  ahead,  enough  money  and 
enough  imagination  will  not  be  put  back 
of  program  experimentation.  As  a  conse- 
quence, before  Television  has  had  the 
chance  to  become  the  established  favorite 
with  the  public  thai  it  deserves  along  its 
own  unique  rails,  it  may  have  bored  ils 
potential  supporters  into  permanently 
snapping  off  the  television  knobs  of  their 


24 


receiving  sets,  because  of  banally  imitated 
radio  programs  or  third  rate  motion  pic- 
ture offerings  with  which  it  is  providing 
the  home  screens  in  the  meantime. 

"Tell  the  public  of  the  great  possibilities 
of  Television  and  then  show  them  vvhat  to 
look  for  is  one-half  of  the  answer,"  in- 
sists Miss  Sibley.  "The  other  half  of  the 
answer  is  to  be  found  in  setting  up  a  pro- 
gram experimentation  unit  that  will  de- 
velop production  ideas  for  Television  us- 
age, and  this  carries  with  it  the  additional 
responsibility  of  searching  out  the  prin- 
ciples of  a  new  technique — as  Mr.  Harry 
Lubcke  puts  it  'the  to-be-developed  tech- 
nique of  Television'." 

To  answer  both  these  needs,  Miss  Sib- 
ley is  organizing  under  the  sponsorship  of 
the  University  of  California  Extension  Di- 
vision a  course  called  Introduction  to  Tele- 
vision Production  and  Acting,  and  also 
an  advanced  group  on  program  experi- 
mentation. 

Both  courses  will  have  their  initial  meet- 
ings the  first  week  of  March  at  the  Uni- 
versity of  California  Extension  Headquar- 
ters, 815  South  Hill  Street.  Information 
may  be  secured  by  writing  or  calling  there. 

The  following  is  quoted  from  a  recent 
radio  broadcast  by  Miss  Sibley: 

"Television  is  itself  a  new  frontier  to  be 
explored,   and    television   opens   the   way   to   many 


other  yet  unexplored  frontiers.  Any  unfulfilled 
wish  or  desire  that  a  person  has  is  an  implicit 
frontier  for  someone  to  develop  a  scientific  in- 
vention, or  a  new  production,  or  a  new  activity 
to  fulfill  that  wish  or  need.  Television  itself,  as 
a  scientific  invention,  is  a  new  frontier. 

It  is  perhaps  in  the  same  position  today  that 
the  invention  of  the  automobile  was  forty  years 
ago.  Forty  years  ago  there  were  perhaps  only  a 
few  thousand  men  employed  in  the  automobile 
industry,  whereas  today,  six  million,  by  recent 
figures,  were  found  to  be  employed  in  the  auto- 
mobile manufacturing  industry,  and  a  million 
additional    in    the  accompanying   oil   industry. 

"You  see,  there  are  two  types  of  inventions. 
One  type  is  a  revolutionary  idea  like  the  tele- 
phone and  the  automobile,  of  which  we  have 
just  spoken,  and  television  itself.  These  inven- 
tions themselves  create  whole  new  industries,  and 
bring  about  new  widespread  employment.  The 
second  kind  of  inventions  merely  improve  exist- 
ing processes  and  products,  and  in  some  cases 
this   last  type  causes  deep  unemployment. 

"Well,  in  this  matter  of  unemployment,  would 
television  give  unfavorable  competition  to  mo- 
tion pictures?  No,  it  would  not.  Because  tele- 
vision is  not  just  another  motion  picture.  It  is 
a  medium  of  its  own  and  will  be  developed 
along  lines  peculiar  to  its  own  medium.  For 
instance,  the  outstanding  characteristic  that 
makes  television  is  "immediacy."  Immediacy  is 
a  word  that  best  describes  that  feeling  of  suspense 
and  fascination  that  one  has  when  looking  into 
a  television  screen  and  knowing  that  what  one 
is  looking  at  is  actually  taking  place  right  at 
that  very  moment  in  some  part  of  the  world — 
whether  it  be  in  the  television  studios,  in  the 
down-town  area,  or  a  horse  race,  or  an  inaugura- 
tion of  a  president. 

"The  essence  of  television  might  really  be  de- 
fined as — Sight,  plus  Sound,  plus  Immediacy. 
The  motion  picture,  on  the  other  hand,  has  only 
sight  and  sound,  but  lacks  the  romance  of  im- 
mediacy. Television,  on  the  other  hand,  is  a 
great  consumer  of  motion  picture  film,  and 
therefore  a  potential  customer  of  motion  pic- 
tures. Television  will  never  have  the  high-power 
glamour  appeal  of  motion  pictures,  because  tele- 
vision will  never  be  able  to  afford  the  tremendous 
sums  of  money  that  go  into  the  making  of  a 
first-class  motion  picture.  Television  is  being 
developed  for  home  use  by  the  family  fireside. 
This  is  in  itself  a  strength  and  a  good  quality, 
but  it  will  never  satisfy  the  social  urge  of  people 
to  gather  together  in  large  groups.  That  group- 
satisfaction  that  comes  when  one  attends  a 
packed  house  at  the  theater,  or  at  the  local  mo- 
tion  picture.     , 

"In  the  all-important  matter  of  defense,  it  is 
very  possible  that  television  will  be  the  1943 
medium  of  military  communication.  It  is  a 
mechanized  warfare.  The  African  tribes  used 
their  war  drums  to  gather  their  tribes  for  battle 
— the  American  Indians  sent  their  smoke-fire 
warnings.  In  1914 — to  jump  to  recent  times — 
it  was  the  telegraph  and  the  crude  mud  wireless 
that  kept  the  advance  forces  in  constant  contact 
with  army  headquarers.  Now  in  his  age  of  air- 
warfare  and  mechanized  units,  we  find  experi- 
ments successfully  carried  on  transmitting  air- 
plane  views   to   the   officer   in   command    below. 

"The  second  new  frontier,  democracy,  the  basis 
on  which  our  American  system  is  built,  would 
be  considerably  furthered  if  one  could  return 
to  the  democratic  old  (lays  of  the  American  town 


hall,  where  each  citizen  looked  full  into  the  face 
of  his  town  councilor,  and  discussed  the  matters 
that  concerned  them  both.  That  was,  of  course, 
a  literal  government  of  the  people.  150  years 
later,  the  coming  of  the  television  age  promises 
again  that  rare  opportunity  of  meeting  with  one's 
governmental  leaders,  and,  face  to  face,  think- 
ing  through   matters   of   importance. 

"When  one  speaks  of  the  third  new  frontier 
distribution,  one  immediately  thinks  of  the  com- 
pelling job  radio  does  in  mass  merchandising. 
Television  will  doubtless  have  its  part  in  ac- 
celerating sales  of  certain  products.  I  can  even 
see  the  housewife  of  a  morning,  sitting  before 
her  television  screen  and  viewing  the  bargains 
of  the  day  on  the  second  floor,  we  will  say,  of  a 
downtown   department  store. 

But  I  prefer  to  pass  on  to  another  phase  of 
television  distribution.  It  would  seem  that  tele- 
vision offers  one  of  the  best  means  for  spreading 
of  education. 

"The  arts  will  doubtless  receive  a  tremendous 
stimulus  from  television  presentation.  Recall,  for 
a  moment,  the  increased  interest  in  music  created 
by  the  radio.  Music  publishers,  instrument  man- 
ufacturers, teachers  of  music  have  all  benefitted 
enormously,  and  there  is  a  widespread  participa- 
tion in  music  never  before  known.  Carry  this 
analogy  into  the  art  of  the  dance,  the  theater, 
and  the  graphic  arts.  A  new  age  in  the  practice 
of  leisure   arts   and   recreation   dawns. 

"There  is  a  fourth  new  frontier  which  has  been 
touched  on  only  implicitly  in  this  past  discussion, 
and  that  is  the  frontier  of  personal  development. 
The  television  age  will  not  be  something  wherein 
we  can  all  sit  statically  by.  It  will  demand  of 
all  of  us  a  development  of  a  personal  style,  in 
order  that  we  should  be  able  to  step  up  and  take 
our  parts  in  the  television  scene.  Perhaps  we  will 
be  merchandising  for  Kellogg's  Corn  Flakes,  or 
giving  a  course  over  television  in  banking,  or 
fashions,  or  how  to  cook.  It  may  be  that  we  want 
only  to  present  intelligently  our  club's  project 
of  preserving  the  redwoods,  or  building  of  public 
opinion  to  take  signs  off  the  highway,  or  to  raise 
a  milk  fund  for  under-privileged  children  next 
door.  In  this  age  of  "saying  it  with  pictures" 
we  will  be  called  upon  to  develop,  as  did  the 
educated  man  and  woman  of  a  past  age  a  pleas- 
ant literary  style,  and  as  the  radio  age  demanded 
a  clear  agreeable  voice,  so  the  television  age 
will  expect,  as  a  matter-of-course,  an  easy,  mag- 
netic personal  expression.  Yes,  television  and 
new   frontiers   are   synonymous." 

TELEVISION  MAKE-UP 

By   Cessi    Weaver,    Make-Up   Artist 
Television  Station  W6XAO 

Contrary  to  popular  opinions,  television 
make-up  no  longer  produces  a  gruesome 
effect.  In  the  earlier  experiments  the  faces 
did  look  like  a  Dalian  conception  of  a 
Martian — blue  and  green  crescents  were 
interspersed  with  splotches  of  red.  Gradu- 
ally the  make-up  artists  have  changed  the 
procedure  as  they  discovered  that,  as  in 
the  regular  moving-picture  and  stage  make- 
ups, panchromatic  colors  are  best. 

Because  of  the  intense  heat  from  the 
lights  in  the  studio  it  is  not  possible  to 
use  regular  grease  paint  base.  Max  Fac- 
tor's has  produced  a  pancake  base  that  is 
applied  with  a  sponge  and  water  as  this 
does  not  smear  when  the  actors  perspire. 
Black  pencil  is  used  for  outlining  the  eyes 
and  blue-gray  eye-shadow  is  preferable. 
The  lipstick  is  a  deep  reddish-purple,  al- 
most black.  Because  television  make-up  is 
still  in  an  experimental  stage,  the  colors 
used  in  the  application   of  highlights  and 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


Subscribe  Now! 

INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A.,  $3.00  in  Europe  and  Canada 


shadows  for  character  parts  have  not  yet 
been  definitely  decided  upon.  Pancro  lin- 
ing for  the  shadows  and  yellow  for  the 
highlights,  when  well  blended,  have  thus 
far  given  the  best  effect. 

Because  of  the  extensive  use  of  close-up 
shots,  one  of  the  secrets  to  a  successful 
make-up  i  s  to  be  found  in  the  word 
"smooth."  A  smooth  application  of  the 
base,  a  smooth  blending  of  highlights  and 
shadows,  and  a  smooth  finish  of  powder 
will  bring  the  artist  closest  to  his  desired 
result. 

One  of  the  most  difficult  tasks  of  the 
television  make-up  artists  is  in  the  quick- 
change  applications.  Probably  a  record 
was  set  recently  when  a  young  lady  aged 
twenty-five  years  in  one  minute  and  twen- 
ty-five seconds.  The  actress  stood  just  out 
of  camera  range  while  Father  Time  was 
hastened  by  the  help  of  the  artist. 


COOKE  CINE  LENSES 

Cooke  lenses  will  give  you  crisp, 
extremely  sharp  definition 
throughout  the  entire  spectrum. 
Envisioning  future  demands, 
Cooke  lenses  have  always  sur- 
passed current  requirements. 
Focal  lengths  for  every  need. 
Write  for  descriptive  literature. 

BELL   &   HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine'  Lenses 
1848  Larchmont  Avenue,  Chicago 
New   York:   :iu   Rockefeller  Plaza 
Hollywood:     716  N.   LaBrea  Ave. 
London:     13-14   Great   Castle   St. 


International  Photographer  for  March,  1941 


25 


PATEim 


By  ROBERT  W.  FULWIDER 

Patent  Attorney,  Los  Angeles 

No.  2,227,848— Liquid  Distributing  De- 
vice. Lester  Soman,  New  York,  assignor 
to  Film  Treatizor  Corp.,  N.  Y.  Org. 
Appln.  Apr.  11,  1935.  Divided  and  this 
appln.   Oct.  20,   1937.   6  Claims. 

A  device  for  applying  a   liquid  to  a   film 

after  it  has  left  the  magazine  and  before 

it  has   entered   the  projector  lead,   with   a 

temperature    control    for    controlling    the 

flow  of  liquid. 

No.  2,227,987 — Automatic  Projection 
Printer.  Clifton  M.  Tuttle  and  William 
Bornemann,  assignors  to  Eastman  Ko- 
dak Co.  Appln.  July  26,  1938.  30  Claims. 


Corp.  Appln.  Feb.  1,  1938.  4  Claims. 
A  continuous  film  printer  in  which  the 
passage  of  a  negative  splice  between  a  pair 
of  resiliently  mounted  rollers  operates  a 
shutter  to  change  the  amount  of  light 
passing  through  the  sound  printer  slit. 
No.    2,228,643 — Method    of    Producing 

Cinematograph   Films.   Lewis  Charles 

Rudkin,    Streatham,    London,    England. 

Appln.  Jan.  23,  1939.    In  Great  Britain 

Jan.  27,  1938.  5  Claims. 
A  method  of  printing  two  different  sound 
records   on   a   single  track  by  varying  the 
angle  which  the  printing  light  makes  with 


A  projection  printer  in  which  tire  density      one   of   the   films,    and    printing   a   second 
of  the   negative   controls   the   intensity    of      record  near  the  first  record. 


the  printing  light,  printing  being  done  on 

an  intermittent  basis. 

No.  2,228,247— Steering  Control  Mech- 
anism. Harry  G.  Cunningham,  assignor 
to  Radio  Keith  Orpheum  Corp.  Orig. 
appln.  July  20,  1937.  Divided  and  this 
appln.  June  24,   1938.  14  Claims. 


No.  2,229,137  — Production  of  Color 
Photographs.  Wilhelm  Schneider,  Ger- 
many, assignor  to  General  Aniline  & 
Film  Corp.  Appln.  June  17,  1937.  In 
Germany  June  26,  1936.  3  Claims. 
A  method  of  producing  color  films  in 
which  a  color   forming  dyestuff  which   is 


A    camera    dolly    truck    having    a    steering      soluble  in  aqueous  liquids  but  is  incapable 


mechanism  for  simultaneously  positioning 
all    of   its   wheels   in   parallel    planes,   and 
means  for  releasing  only  one  of  two  par- 
allel wheels  from  the  steering  means. 
No.  2,228,479— Color  Photography  Ap- 
paratus.  Frederick  T.  O'Grady.  Flush- 
ing,  N.   Y.    Appln.   June    14,    1939.    14 
Claims. 
A   rotary  camera   shutter   carrying   a   pair 
of  complementary  color  filters,  with  means 
to  vary  the  amount  of  the  exposure  aper- 
ture each  filter  will  cover. 


per  se  of  diffusing  with  respect  to  the  bind- 
ing layer  between  the  several  emulsions, 
is  incorporated  in  each  emulsion  layer,  the 
film  being  exposed,  reversed,  and  color 
images  then  formed. 

No.    2,229,157 — View    Finder    Control. 
Lloyed  E.   Whittaker,  assignor  to  Tech- 
nicolor   Motion    Picture    Corp.     Appln. 
Jan.  12,  1938.  6  Claims. 
A  device  for  adjusting  an   optical  system 
mounted  on  a  camera  within  a  sound  ab- 
sorbing  housing,  the  adjusting  device   ex- 


No.  2,228,541  -  -  Means  For  Producing  tending  through  the  housing  and  transmit- 

Noiseless    Film    Splices.    Ralph   Hunt  ting  a  minimum  of  sound  from  the  hous- 

Toivnsend  and  Robert  Colby  Stevens,  as-  ing  to  the  camera, 

signors  to  Twentieth  Centurv-Fox  Film  No.  2,229,678 — Apparatus  for  Producing 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 
CAMERA  CRANE 


DAY- 


-PHONES- 


-NIGHT 


Hillside  6313  SUNSET  BOULEVARD 

Near  Vine  Street 
8333  HOLLYWOOD,  CALIFORNIA 


HEmpstead 
1311 


Composite  Photographs.  Otto  John 
Lauro  Seaman,  Bayside,  N.  Y.  Appln 
Dec.  23,  1937.  6  Claims. 
A  camera  for  producing  composite  photo- 
graphs and  having  an  objective  lens,  a  first 
film  located  in  the  focal  plane  of  the  ob- 
jective, a  copying  lens  behind  the  first 
film,  a  beam  splitter  behind  the  copying 
lens,  with  second  and  third  films  receiving 
reflected  and  transmitted  light  from  the 
beam  splitter. 

No.  2,229,861  —  Electrical  Circuit  De- 
vice.  Joseph    H.    McNabb,    assignor   to 
The    Bell    &    Howell    Co.,    Chicago,    111. 
Appln.  Oct.  28,  1938.    2  Claims. 
An  electrically  operated  camera  having  a 
carrying  case  in  which  a  source  of  electri- 
cal energy  is  carried,  with  a  flexible  elec- 
trical connection  leading  from  the  energy 
source  to  the  camera. 

Clipper  Plane  Built  At  Studio 

Warner  Bros,  technicians  have  dupli- 
cated in  all  respects  except  motors  and 
interior  finish  a  Boeing  314  trans-Atlantic 
clipper  to  match  studio  shots  with  scenes 
filmed  at  Lisbon  and  La  Guardia  Field  for 
"Affectionately  Yours." 

The  studio-made  clipper  is  identical  in 
measurements  with  those  now  in  service. 
It  is  the  first  permanent  clipper  set  built 
at  any  studio.  Merle  Oberon,  Dennis  Mor- 
gan and  Rita  Hayworth  ride  the  clipper  in 
"Affectionately  Yours." 

Another  Awartl  For  Bette 

Bette  Davis  will  receive  her  24th  acting 
award  of  the  past  twelve  months  when 
Cinelandia,  leading  fan  magazine  of  the 
Latin-American  countries,  presents  her  with 
its  first  Pan-American  trophy  for  the  best 
screen  performance  of  the  year.  The  honor 
is  based  on  her  work  in  Warner  Bros.' 
"The  Letter." 

CLASSIFIED 

LARGE  QUANTITY  OF  PROFESSIONAL  CAM- 
ERAS AVAILABLE.  WRITE  FOR  BARGAIN" 
BOOKLET.  BURKE  &  TAMES,  INC.,  223  W. 
MADISON   ST.,   CHICAGO,   ILL. 

WANTED   TO    BUY    FOR   CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO      LABORATORY      AND      CUTTING 

ROOM    EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600  Broadway  New  York  City 

Tel.    Circle   6-5080— Cable :    CINEQUIP 

BELL    &    HOWELL,    5-WAY    SOUND    PRINTER. 

CAMERA   EQUIPMENT    COMPANY 

1600   Broadway  New  York   City 

Tel.    Circle   6-5080— Cable:    CINEQUIP 

FOR  SALE;  Combination  16  mm.  and  35  mm.  optical 
printer  very  reasonable.  Will  accept  Bell  &  Howell 
35  mm.  camera  in  exchange.  Address  Box  BD  25, 
International    Photographer,    Hollywood. 

FOR  SALE:  Like  new.  H.C.E.  "Hollywood"  Com- 
bination 35  mm.  and  16  mm.  automatic  one-man 
developing  machine.  Operating  capacity  3000  feet  of 
positive  or  1500  feet  of  negative  per  hour.  Price 
$1250.00.  HOLLYWOOD  CAMERA  EX- 
CHANGE,   1600   N.    Cahuenga   Blvd. 

MITCHELL  NC  112.  LIKE  NEW.  Up  to  the  min- 
ute. B.  B.  RAY,  300  W.  Durante  Road,  Arcadia, 
Calif. 

FOR  SALE— WALL  REBUILT  BELL  &  HOW- 
ELL SINGLE  SYSTEM,  3  LENSES,  2—1000 
FT.  MAGAZINES,  TRIPOD.  FINDER,  MOVIE- 
TONE QUARTZ  SLTT.  PORTABLE  RECORD- 
ING AMPLIFIER,  INDUCTOR  MICROPHONE 
— COMPLETE   $1750.00 

MOTION   PICTURE  CAMERA  SUPPLY,  INC. 
1601)    Broadway,    New    York    City 


26 


Bob  Hurd  walked  up  and  kissed  his  Camera 


HERE'S  ME,"  chortled  Hurd,   'working  fast  in 
failing  light   .   .   .  and  you  should've  seen  the 
results  .  .  . 

.  .  .  shadow  details  so  sweet,  I  almost  shed  a  tear.  And 
a  scale  of  tones  as  long  as  your  arm. 

"So  I  skip  out  of  the  projection  room  and  plant  a  big 
smack  on  Old  Betsy.  Right  on  her  nose.  And  then  I 
think  about  it,  and  I  think  that  maybe  all  the  credit 
shouldn't  go  to  Old  Betsy." 

"Maybe  a  lot  of  it  should  go  to  the  film:  Agfa  Ultra- 
Speed!" 


Many  Hollywood  photographers  have  found  that 
Ultra-Speed  Pan  is  the  fastest  film  obtainable.  They 
use  it  because  it  provides  its  extreme  sensitivity  with- 
out serious  loss  of  other  desirable  characteristics. 

For  normal  production,  Agfa  Supreme  also  offers 
supersensitive  speed  with  fine  grain,  and  an  improved 
color  balance  and  gradation. 

If  you  have  not  worked  with  either  of  these  great  films 
— you're  due  for  a  pleasant  surprise.  Try  them  soon! 
Agfa  Ansco  Products.  Made  in  Binghamton,  New 
York,   U.  S.  A. 


AGFA  RAW  FILM  CORPORATION 


HOLLYWOOD 

6424  Santa  Monica  Blvd.,  Tel.  Hollywood  2918 


NEW  YORK 

245  West  55th  Street.  Tel.  Circle  7-4635 


PA 


International  Photographer  for  March,  1941 


27 


They  sAy*" 


•  Lee  Garmes  is  the  proud  father  of  baby 
girl  No.  2,  Carol  Lee,  born  Christmas 
night. 

•  Ray  Jones,  Universal,  who  rates  Class 
A  amongst  still  cameramen,  is  considered 
one  of  the  most  efficient  men  in  the  studio 
business  because  of  the  fine  manner  in 
which  he  runs  Universal's  still  department. 

•  The  valley  studios.  Universal,  Warner 
Bros,  and  Republic,  were  going  at  top 
speed,  while  across  the  pass  the  studios 
had  the  men  between  promises. 

•  Allen  Davev  and  Eddie  Snyder,  first 
cameramen,  and  Rube  Boyce  and  Nelson 
Cordes,  assistants,  off  to  Miami  shooting 
scenes  for  20th  Century  Fox  on  a  picture 
of  the  same  name. 

•  Joe  Kealy,  so  well  remembered  as  a 
member  of  Local  659,  and  now  of  Local 
728,  is  recovering  from  a  serious  ailment 
at  the  Veterans'  Hospital,  Sawtelle. 

•  On  to  Sun  Valley  for  20th  Century  Fox 
we  find  J.  O.  Taylor  and  Eddie  Cronjager, 
first  cameramen;  Joe  MacDonald  and  Bill 
Abbott,  second  cameramen;  Paul  Mohn 
and  Henry  Cronjager,  assistants  and  still- 
man   Anthony  Ugrin. 

•  George  A.  Yager,  field  examiner  for  the 
N.L.R.B.,  Los  Angeles,  is  a  member  of 
Local  250,  IATSE. 

•  Roy  Ivev.  Bill  Heckler,  Jimmie  Higgins 
and  Curly  Linden  are  married  to  members 
of  Local  705,  IATSE. 

•  Scotty  Welbourne,  Skippy  Sanford, 
Jos.  Knott  and  Hal  Mohr  married  to  mem- 
bers of  the  Screen  Actors'  Guild. 

•  Mel  Stamper,  formerly  in  the  camera 
department  at  Paramount  is  now  super- 
visor in  the  contact  department  of  the  re- 
search laboratory  at  Lockheed  Aircraft. 

•  Sam  Landers  of  Landers  Camera  Rent- 
als knows  a  lot  of  secrets  about  how  pic- 
tures were  made  in  D.  W.  Griffith's  time. 
He  promises  to  talk  some  day. 

•  Russell  Harlan  who  photographs  the 
"Hop-A-Long  Cassidy"  pictures  once  had 
an  opportunity  to  be  a  Western  star.  To- 
day he  does  more  shooting  than  all  the 
Western  stars. 

•  Eric  Mayell  of  Fox  Movietone  News  is 
back  after  two  and  a  half  years  spent  in 
the  Orient,  where  he  saw  war.  pestilence 
and  revolution  —  and  little  regard  for 
humans. 

•  Norman  Alley  writes  from  Rio  de  Ja- 
neiro that  it  is  the  closest  thing  to  Holly- 
wood. 

•  Paul  Ivano  off  to  Buenos  Aires  as  first 
cameraman  for  one  of  the  largest  South 
American  producing  companies.  Paul  has 
agreed  to  act  as  South  American  corres- 
pondent  for   International   Photographer. 

•  Our  deepest  sympathy  to  Les  Rowley 
in  the  loss  of  his  dear  wife;  Joe  New,  his 
beloved  daughter  and  William  Cooper 
Smith,  his  dear  brother. 


By  RELLA 

•  Jack  Greenhalgh  who  owns  a  Luscombe 
P-50  monoplane  is  interested  in  forming 
a  Local  659  Flying  Club.  He  suggests  that 
those  interested  in  flying  communicate 
with  him  or  obtain  information  at  the 
office  of  the  local. 

•  Congratulations  to  Harvey  Gould  upon 
formation  of  partnership  known  as  Mr. 
and  Mrs.  Harvey  Gould. 

•  John  R.  Olsen,  Salt  Lake  City,  in  town 
with  the  Missus  looking  over  Hollywood 
and  the  motion   picture  studios. 

•  Roy  Hunt  and  Russ  Cully  off  to  Fort 
Benning,  Ga.,  where  they  will  be  joined  by 
other  members  of  Local  659  and  members 
of  Local  666,  Chicago. 

•  Everett  G.  Burkhalter,  assemblyman 
from  the  42nd  Assembly  District,  is  a 
member  of  Local  728,  IATSE. 

•  Buddy  Weiler  passing  cigars  on  the  ar- 
rival of  a  baby  girl,  making  the  count  one 
and  one  in  his  family. 

•  John  C.  Leeds,  Jr.  about  to  be  called  to 
service  by  the  United  States  Army  Corps. 
John's  dad  is  an  assistant  cameraman  now 
doing  special  work  in  connection  with  the 
defense  program. 

•  Esselle  Parichy  sends  greetings  from 
Miami  to  his  many  cameramen  friends 
on  the  West  Coast.  He  will  be  remembered 
as  a  member  and  contributing  editor  of  the 
tnagazine. 


16mm. 


(Continued  from  page  23) 
speed.  Even  at  the  end  of  the  winding  I  he  speed 
was  still  so  close  as  to  cause  only  a  very  slow 
"creep"  under  the  stroboscope.  This  is  so  ac- 
curate that  time  intervals  for  most  scientific  pur- 
poses can  be  obtained  merely  by  counting  frames, 
without  the  necessity  for  supplementary  timing 
devices.  The  value  of  this  for  all  research  work 
is  apparent  but  the  new  camera  will  be  found 
very  useful  for  sport  pictures  such  as  analyzing 
one's  golf  stroke. 

24  Speed  Added  to  Two  B&H  Cameras 

Bell  &  Howell  announces  the  addition  of  a  fifth 
speed  to  the  Filmo  Auto  Master  (Turret  Head), 
and  the  Auto  Load  Speedster,  B&H  16mm.  maga- 
zine loading  cameras.  This  new  speed  gives  these 
B&H  cameras  a  speed  range  of  from  16  to  64 
frames  per  second.  There  are  now  five  speeds — 
the  normal  16-speed,  for  general  use;  24-speed, 
for  sound  to  be  added  later,  etc.;  32-speed,  for 
shooting  from  moving  vehicles  and  for  fast  action 
shots;  48-speed.  for  semi-slow  motion;  and  64- 
speed.  for  beautiful,  analytical  slow  motion  study. 

B&H  New  Quick  Shift  Attachment 

Said  to  permit  the  owner  to  approximate  many 
professional  Hollywood  trick  shots,  the  new 
Ouiek  Shift  Zoom  Attachment,  now  available  for 
the  Filmo  Turret  8,  makes  possible  a  ([nick  shift 
from  one  lens  to  another — ideal  for  changes  from 
long  range  shots  to  close-ups — without  slopping 
or  moving  the  camera.  This  new  Ouiek  Shift 
Zoom  Attachment  is  priced  at  $13.50  when  or- 
dered as  original  equipment.  Installed  on  the 
owner's  camera  now  in  the  field,  the  price  is 
$16.50.  The  attachment  must  be  installed  at  the 
Bell  &  Howell   factory  in  Chicago. 


New  Eastman  Suede  Finish  Paper 

•  Two  new  grades  of  Kodabromide  and  Koda- 
lure  paper,  with  an  interesting  new  suede  matte 
surface,  and  a  choice  of  two  base  tints,  are  an- 
nounced by  the  Eastman  Kodak  Company,  Koch- 
ester. 

The  new  paper  surface  combines  an  absolutely 
matte  finish  with  an  extremely  smooth  surface 
texture. 

A  further  virtue  is  the  richness  of  the  blacks 
these  papers  yield.  The  suede  paper  is  so  com- 
pletely matte  that  no  specular  reflection  can  be 
obtained  at  any  angle  of  illumination,  and  this 
characteristic  lends  a  strength  and  "punchiness" 
to  the  deepest  tones  that  will  be  particularly 
prized   in   exhibition    prints. 

The  new  Kodabromide  listings  are:  Grade  V, 
suede,  matte,  cream  white;  and  Grade  W,  suede, 
matte,  old  ivory.  Both  are  double-weight,  and 
available  in  contrasts  No.  1,  2,  and  3. 

Kodalure  listings  are  the  same,  in  grade,  finish, 
tint,  and  weight;  but  only  the  one  contrast  (nor- 
mal )  is  available.  Prices  for  the  new  papers  are 
the  same  as  for  other  Kodabromide  and  Kodalure 
surfaces  in  equivalent  sizes  and  weights. 

Agfa  Anseo  Sound  Recording  Film 

A  new  high  resolving  sound  recording  16mm. 
film  has  been  introduced  by  Agfa  Ansco  which 
should  go  far  to  advance  the  standards  for  high 
quality  sound  reproduction  in  16mm.  motion  pic- 
ture  work. 

The  principle  of  obtaining  a  surface  image  is 
similar  to  that  employed  in  35mm.  motion-picture 
sound  recording  where  "ultra-violet"  recording 
has  been  adopted  to  obtain  highest  quality  sound 
reproduction.  Although  well  suited  for  35mm. 
work,  ultra-violet  recording  technique  has  not 
been  so  successful  when  applied  to  16mm.  equip- 
ment because  of  light-limiting  factors  imposed 
by  the  ultraviolet  filter,  smaller  optical  systems 
and  light  valves.  Accordingly,  the  common  "posi- 
tive" type  emulsion  has  been  in  general  use  for 
16mm.   sound   recording. 

Made  in  Binghamton,  New  York  by  Agfa 
Ansco,  the  new  Agfa  16mm.  High-Resolving 
Sound  Recording  Film  is  obtainable  through 
usual  sources  of  supply  in  standard  lengths.  It 
may  be  handled  under  usual  positive  safelights 
and  can  be  developed  in  any  clean-working  de- 
veloper producing  good  contrast,  such  as  Agfa 
20  Positive  Developer. 

Orson  Welles  to  Produce 
"Native  Son" 

Orson  Welles  and  John  Houseman  to- 
day announced  the  stage  production  of 
"Native  Son,"  from  the  best  selling  novel 
by  Richard  Wright  under  the  auspices  of 
the  Mercury  Theatre. 

Marking  the  renewal  of  stage  activity 
for  Welles,  "Native  Son"  will  be  billed  on 
Broadway  as  "A  Mercury  Production  by 
Orson  Welles,"  the  same  billing  carried 
in  his  first  RKO  Radio  motion  picture. 
"Citizen  Kane." 

Welles. went  to  New  York  recently  to 
discuss  the  opening  of  "Citizen  Kane ' 
and  plans  for  his  next  production  with 
RKO  heads.  While  there,  he  completed 
the  script  for  his  second  RKO  film,  which 
will  be  shot  largely  in  Mexico  and  is  as  yet 
untitled.  With  an  April  1  starting  date 
for  the  new  picture,  Welles  obtained  per- 
mission from  George  Schaefer.  RKO  presi- 
dent, to  direct  "Native  Son,"  which  was 
dramatized  by  Paul  Green.  Canada  bee, 
critically  acclaimed  in  Welles"  Federal 
Theater  production  of  "Macbeth"  with  an 
All-Negro  cast,  has  been  signed  for  the 
"Native  Son"  lead,  Welles  announced. 


28 


Winners 

For  Best  Photography 

As  determined  by 
The  Preview  Poll — 
"HOLLYWOOD  REPORTER" 


Bert  Glennon 

Director  of  Photography 

William  V.  Skall 

Technicolor  Director  of  Photography 

Guy  Roe 

Operative  Cameraman 

Paul  Hill 

Technicolor  Technician 

Paul  Uhl 

Assistant  Cameraman 


PARAMOUNT'S 
Technicolor  Production 

"VIRGINIA" 


EASTMAN 


Negative-Sound  Track-Positive 

BRULATOUR  SERVICE 


April,  1941 


25  CENTS 


••'" 


m     S£flm    WFIROIIRMF 


THE 

METRO-COLDWYN-MAYER 

PRODUCTION 

"STRIKE  UP  THE  BAND" 

Academy  Award  Winner  for  best  sound  recording  in  1940 

DUPONT 

Fine  grain  recording  film  used 
for  original  recording  and 
re-recording  prints. 

All  METRO-GOLDWYN-MAYER 
original  recordings  and  re-recording  prints 
have  been  made  on  DUPONT  fine 
grain  films  since  late  1939. 

Congratulations  to  Metro-Qoldivyn-Mayer 


m  PONt 


MASTER    POSITIVE  RELEASE    POSITIVE 

SOUND  RECORDING 

Du  Pont  Film  Manufacturing  Corporation,  Incorporated 

9  Rockefeller  Plaza  Smith    &    Aller,    Ltd. 

New  York  . . .  N.  Y.  6656  Santa  Monica  Blvd. 

Plant . .  Parlin,  N.  J.  Hollywood  .  .  .  California 


International 
phoToqRAphER 


Vol.  XIII 


April,  1941 


No.  3 


LEADING  ARTICLES  IN  THIS  ISSUE 

World  Through  the  Camera.  Shackelford — Pages  3,  4,  5,  10 

Across  the  Bar,  Sinkey — Page  7 

It's  Coming!,  McGregor — Page  9 

Studios'  Still  Photography  Show — Page  12 

Mood  Created  by  Filters.  Greenhalgh — Page  12 

PICTORIAL  FEATURES 

Gobi  Desert,  Shackelford — Page  6 
Tropical  Isles,  Shackelford — Pages  14,  15 

REGULAR  DEPARTMENTS 

They  Say,  Retla — Page  18 
16  mm  Department — Page  20 
Patents,  Fulwider — Page  21 
Tradewinds — Page  22 
Television,  Evans — Pages  24.  25 


Editor,  Herbert  Allek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical   Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada- Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  O.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN.CAIDWEU 


Reading  down:  Off  coast  of  New  Zealand, 
shooting  Warner  Bros,  color  film,  '"Sword- 
fishing";  making  Kodachrome  stills  of  the 
Keeper  of  the  Sacred  Forest  in  Bali  and 
some  of  its  inhabitants,  a  monk  and  her 
babe;  photographing  a  "Tashmanian  Devil" 
while  two  assistants  with  clubs  and  guns 
stand  by;  set-up  in  plane  to  film  dropping 
of  supplies  to  party  of  explorers  on  Shiva 
Temple  expedition  in  Grand  Canyon.  While 
banking  a  turn  over  the  temple  the  plane 
hit  an  air  pocket  and  went  into  a  thousand- 
foot  side  slip.  Forward  momentum  carried 
Shackelford  and  his  party  to  safety  over  the 
edge  after  just  grazing  the  tree  tops. 


See  story  on  page  3 


International  Photographer  for  April,  1941 


iwjm:  study 


By   William    Mortensen 


the  would  through  the  camera 


By  JAMES  B.  SHACKELFORD 


•  During  1935-36  Shackelford  was  on  a  twelve- 
months' world  cruise  with  Tay  Garnett.  The 
backgrounds  he  shot  during  that  trip  now  are 
being  used  by  Garnett  in  "World  Cruise,"  being 
produced  at  Universal  Studios.  Shackelford  built 
a  complete  film  lab  on  the  boat  in  a  space  of 
only  seven  by  seven  by  eight  feet.  The  high 
humidity,  sometimes  ninety-five  per  cent,  made 
drying  of  negatives  and  other  details  of  process- 
ing very  difficult. 

All  climates  were  encountered  on  that  trip, 
from  freezing  in  Japan  to  the  extreme  humidity 
of  the  tropics  and  the  burning  dryness  of  the  Sa- 
hara. Sixty-five  thousand  feet  of  film  were  shot 
and  Shackelford  said  the  report  from  the  lab 
was  one  hundred  per  cent. 

He  has  some  forty-odd  camera  lenses,  some  of 
them  specially  made  and  one  that  can  be  used 
for  shooting  directly  into  the  sun. 

While  in  Egypt  he  picked  up  some  specimens 
of  flint  that  were  identified  as  being  used  by  a 
prehistoric  race  50,000  years  ago.  These  are  now 
on  display  in  the  Museum  of  Natural  History  in 
New  York. 

After  visiting  all  of  the  so-called  paradise 
spots:  Fiji  Islands.  Bali.  Hawaii  and  others,  he 
says  the  place  he  likes  best  is  San  Fernando 
Valley,  especially  North  Hollywood,  where  he 
has  his  home.  (Chamber  of  Commerce,  please 
note.)  Shackelford  says  the  average  person  has 
visions  of  the  world's  famous  beauty  spots  as 
being  ideal,  but  they  have  their  bad  points,  too. 
For  instance,  while  in  Fiji  it  rained  twenty-four 
hours  a  day  for  six  weeks,  without  a  let-up. 
Clothes  and  bedding  became  saturated  from  the 
moisture  in  the  air  and  refused  to  dry  during  that 
period.  "Glamour  isles  have  about  ninety  per  cent 
of  their  glamour  in  books,"  says  Shackelford,  and 
he  ought  to  know. 

On  his  South  Sea  cruise  with  George  Dromgold. 
author  of  "Two  Lugs  on  a  Lugger,"  and  illus- 
trated by  Shackelford,  part  of  the  time  they  had 
a  cannibal  crew  of  nine.  When  asked  if  he  felt 
any  fear  he  replied  that  he  felt  safer  in  all  his 
contacts  with  savages,  stormy  seas  and  wild  beasts 
than  on  the  streets  of  Hollywood. 

He  has  in  mind  other  adventures,  mentioned  in 
his  story  below,  but  expects  to  remain  around 
the  film  capital  during  the  summer.  He  is  one  of 
the  early  members  of  Local  659  and  reports  that 
the  work  of  its  members  is  known  all  over  the 
world.  A  card  is  a  good  introduction  even  in  New 
Zealand  and  on  the  Sahara. —  (Editorial  Note.) 


My  experience  in  this  motion  picture  game 
dates  back  more  than  thirty  years,  just  how 
much  more  I'd  hate  to  say.  Anyhow,  I 
,  can  remember  one  of  my  first  jobs  was 
assistant  cameraman  with  the  old  St.  Louis 
Motion  Picture  Company,  who  were  on 
location  in  southwestern  Oklahoma  making 
a  picture  called  "The  Renegade,"  or  "Cus- 
ter's Last  Fight,"  one  of  those  double  title 
affairs.     The    technique    was    very    crude 


Getting  a  close-up  of  the  Sphinx  with  a 
real  Sheik  for  an  assistant;  in  New  Guinea, 
where  125  canoes  and  1,200  natives  were 
used  for  picture  sequence  with  close-ups  and 
long  shots  with  Mitchell  and  Akeley  cam- 
eras; on  location  in  New  Guinea  at  the  edge 
of  a  coral  reef,  eight  miles  off  shore.  Fifty 
feet  to  the  right  the  shoals  drop  off  to  700 
fathoms.  On  the  bottom  platform  is  Me] 
Ward,  of  Sydney,  Australia,  who  had  charge 
of  the  scientific  side  of  the  expedition.  Mel 
is  an  expert  swimmer  and  diver  and  here 
was  standing  by   for  an   emergency. 


K 


..- 


International  Photographer  for  April,  1941 


"Dawn  over  Kali"  on  a  path  through  a  rice  paddy;  sonic  of  the  native  kids  used 
village  shots  in  INew  Guinea;  New  Guinea  canoes.  Pari  of  the  Heel  of  125  used 
a   South  Sea  picture. 


compared  to  our  present  day  methods.  En- 
tire sequences  were  shot  from  a  single 
camera  setup  and  without  a  lens  change. 
The  camera  was  an  unwieldy  box  affair 
about  three  feet  square  mounted  on  a  four- 
legged  platform  with  two-by-fours  for  legs. 
Levelling  was  accomplished  by  the  use  of 
wedge  shaped   sticks. 

My  first  follow  or  pan  shot  was  made 
by  putting  bed  castors  on  the  bottom  of  the 
camera.  The  castor  wheels  were  guided  in 
a  circular  track  made  of  two  willow  sap- 
lings tacked  to  the  three-foot-square  tripod 
top.  A  two-by-four  was  nailed  to  the  side 
of  the  camera  for  a  pan  handle.  I  believe 
I  was  one  of  the  first  cameramen  to  make 
a  successful  pan  shot  and  the  first  to 
popularize  the  pan  or  trucking  shots  now 
so  common  in  every  present  day  picture. 
I  know  I  was  the  first  photographer  to  use 
an  Akeley  camera  in  either  newsreel  or 
photoplay  production. 

It  was  over  twenty  years  ago  that  I  made 
the  startling  follow  shots  of  the  auto  races 
at  the  old  Sheepshead  Bay  track  on  Long 
Island,  the  first  Akeley  shots  to  be  used 
in  a  news  reel  and  about  the  same  time  I 
used  the  Akeley  on  a  picture  called  "Ann 
of  the  Green  Gables,"  with  Mary  Miles 
Minter,  and  directed  by  William  Desmond 
Taylor. 

The  whole  Akeley  idea  was  so  radically 
different  from  the  photographic  methods 
used  at  that  time  that  the  skeptics  sadly 
shook  their  hands  and  remarked:  "It  is  just 
a  passing  novelty."  But  nevertheless,  out 
of  its  introduction  evolved  the  slip  head 
tripod,  without  which  a  picture  today  just 
couldn't  be  made. 

Speaking  of  cameras,  among  the  many  I 
have  used  are  the  Moy,  Pathe,  Schustig, 
Ereneman,  Universal,  DeBrie,  Sept,  Russell, 
Eyemo,  Gaumont,  Neuman-Sinclair,  Bell  & 
Howell,  Mitchell  and  a  couple  of  my  own 
make.  The  Bell  &  Howell  and  Mitchell  are 
now  the  world  standard  and  are  used  by 
all  good  cameramen  everywhere.  In  my 
wanderings,  I  have  found  them  in  some 
really  out  of  the  way  spots. 

People  often  ask  me  if  I  don't  get  tired 
of  these  treks;  if  this  roaming  around 
doesn't  get  monotonous  at  times.  No,  not 
when  one  is  afflicted  with  an  insatiable 
curiosity  to  know  what's  just  around  the 
corner;  what  is  on  the  other  side  of  the 
mountain;  what  is  over  there  in  the  forest; 
what  is  up,  or  down,  that  street  or  how  far 
one  can  see  from  the  next  hill,  and,  too, 
the  exciting  things  that  happen  every  once 
in  a  while  keep  a  person  alert  as  to  what 
may  occur  next.  And  of  course  there  is 
that  yen  to  record  everything  in  a  motion 
picture  camera. 

Would  you  be  bored  if  caught  in  China's 
"No  Man's  Land,"  between  two  opposing 
armies,  both  popping  at  you  with  auto- 
matic rifles?  That  I  escaped  with  a  whole 
skin  was  due  to  their  atrocious  marksman- 
ship. 

One  time  after  making  camp  on  a  small 
atoll  in  the  Fiji  Islands  we  found  that  the 
coral  cliffs  under  which  we  camped  were 


alive  with  poisonous  sea  snakes  that  came 
pouring  out  by  the  hundreds  at  high  tide. 
I  Yes,  we  moved. ) 

Again,  we  were  caught  in  a  hundred  mile 
hurricane  that  swept  the  Black  Hole  off 
Japan  and  forced  our  boat  to  heave  to  for 
twenty-four  hours. 

Hooking     and      landing     a     450-pound 
i  swordfish  off  the  north  coast  of  New  Zea- 
land kept  me  too  busy  to  be  bored. 

Being  nearly  swamped  in  a  mountainous 
'  surf  off  the  coast  of  Ceylon  may  have 
dampened  my  enthusiasm  for  a  while.  We 
'were  attempting  to  enter  a  river  in  a  small 
boat  over  a  treacherous  sandbar  and  es- 
caped only  by  the  rarest  chance  after  being 
'  badly  battered  about  for  hours  and  finally 
'beating  it  out  to  sea  again. 

I  was  in  Spain  at  the  start  of  the  last 
|  revolution  and  witnessed  a  mass  funeral  in 
i  Malaga  of  some  of  the  first  rebels  knocked 
!off.  When  our  pearling  lugger  struck  a 
I  coral  reef  in  a  blow  off  New  Guinea,  rip- 
ping off  the  copper  bottom  and  nearly  cap- 
sizing. I  was  aboard. 

Two  typhoons  occured  in  the  Yellow  Sea 
while  en  route  from  Nagasaki,  Japan,  to 
Peking,  China.  One  lasted  three  days  and 
the  little  Jap  boat  I  was  on  hove  to  the 
'entire  time. 

On  one  of  the  four  expeditions  to  the 
Gobi  Desert  we  discovered  the  bones  of 
the  ninety  million  year  old  dinosaur,  as 
well  as  those  of  the  largest  land  mammal 
that  ever  lived. 

Being  charged  by  a  deadly  King  Cobra 
while  filming  a  picture  of  a  Hindu  snake 
charmer  in  Singapore  made  me  wish  for 
a  few  minutes  that  I  knew  something  about 
the  "charmer's"  art. 

Unknown  to  the  Secret  Service,  I  was 
^concealed  in  the  bushes  of  the  White  House 
grounds  and  got  pictures  of  President  Wil- 
Json  during  secret  experiments  during  the 
early  stages  of  ground  to  plane  radio  con- 
versations. 

I  have  participated  in  a  midnight  burial 
at  sea  in  mid  Pacific;  dug  up  the  bones  of 
one  of  Genghis  Khan's  warriors  in  Mon- 
golia and  now  have  them  in  my  garage; 
had  myself  and  camera  gently  ejected  from 
sacred  grounds  while  trying  to  film  a  Mo- 
hammedan ceremony  in  India;  tried  a  bath 
in  the  famous  beach  at  Bali,  but  was  dis- 
couraged by  sharks;  was  caught  in  a  sand- 
storm outside  Aden,  Arabia,  that  just  about 
put  the  finishing  touches  to  my  camera 
equipment;  felt  the  guilt  of  a  small  bov 
when  I  dropped  a  rock  from  the  Leaning 
Tower  of  Pisa  in  Italy,  to  see  how  much 
it  did  lean,  and  nearly  beaned  a  gendarme. 

In  Australia  two  of  my  assistants  saved 
me  from  attack  by  a  giant  kangaroo  and 
they  held  him  off  while  I  filmed  a  herd 
of  two  hundred  of  them. 

In  Marseilles,  France,  I  got  mixed  up 
in  a  taxi  strike  and  was  kept  busy  dodging 
rocks  and  clubs,  but  by  dodging  up  alleys 
(Continued  on  Page  10) 


A  Balinese  dancing  beauty;  one  of  the  temp'e  dancers 
being  "made-up."  Everything  is  changed  from  ihe  skin 
out  for  this  special  ceremony. 


International  Photographer  for  April.  1941 


On  one  of  Shackelford's  trips  to  Mongolia  they  had  a  caravan  of  130  camels.  This  upper  scene  is  at 
the  base  of  the  Flaming  Cliffs  of  Shahrak  Usu,  where  was  discovered  the  remains  of  the  Dune  Dwellers 
and  dinosaur  many  millions  of  years  old.  And  by  the  way,  this  spot  is  only  a  thousand  miles  from  a 
railroad.  Itelow  are  the  sand  dunes  on  an  8, 000-fool  plateau  in  the  Gobi  Desert  with  Roy  Chapman 
Andrews  and  his  camel  leader.    Taken  on  one  of  Shackelford's   four  trips   to  Central   Asia. 


Across  tUe  Bar 


By  CHALMER  D.  SINKEY 

A  surly  wind  is  whipping  the  mouth  of  the 
Columbia  River  into  white-topped  furrows. 
It  is  mid-January,  and  the  sunshine  has  a 
vague,  insincere  aspect,  as  though  it  could 
hardly  wait  to  duck  behind  an  ominous 
bank  of  clouds  rolling  in  from  the  north- 
east. 

At  Point  Adams,  the  U.  S.  Coast  Guard 
station,  storm  warnings  beat  muffled  tattoos 
on  the  gusts  of  a  rising  gale;  the  blue-uni- 
formed men  go  about  their  business  with 
an  air  of  expectancy. 

For  this  is  a  "Second  Tuesday,"  and  ev- 
ery other  Tuesday,  come  rain  or  shine,  the 
Coast  Guard  boys  load  up  their  small, 
efficient  life-boat,  the  Triumph,  and  journey 
forth  eighteen  miles  at  sea.  There,  oppo- 
site the  rugged  Oregon  shoreline,  they  ap- 
proach Tillamook  Rock. 

Nine  times  out  of  ten  the  Triumph  rides 
into  heaving  swells  that  break  and  eddy 
about  the  towering  rock,  like  a  dizzying 
maelstrom.  Never  does  the  boat  make  ac- 
tual contact  with  any  part  of  this  formid- 
able outpost,  for  there  is  nothing  but  sheer, 
stone-grey  walls  and  the  sea  rushing  in, 
only  to  surge  out  again,  as  though  intent 
upon  keeping  this  spot  apart  from  all  of 
the  rest  of  the  world. 

And  yet,  man  has  already  won,  over  the 
sea,  for  a  great  light  revolves,  one  hundred 
and  sixty  feet  up,  atop  this  menacing  but 
natural  foundation.  Six  men  spend  shifts 
of  lonely  days  and  nights  on  Tillamook 
Rock,  keeping  the  light  burning,  guiding 
ships  that  pass;  and  every  sea-faring  man 
knows  that  were  it  not  for  these  men,  his 
craft  might  be  added  to  others  that  have 
been  dashed  upon  treacherous  shoals  in 
this  graveyard  of  ships. 

When  the  Triumph  edges  in  on  the 
swells,  a  swinging  boom  reaches  out  to  grab 
supplies.  Men  who  are  landed  or  taken 
from  the  rock  ride  a  breeches  buoy,  swung 
from  this  same  boom.  Occasionally  the 
sea  is  too  rough  to  make  even  this  contact, 
but  the  Coast  Guard  boys  always  try! 

Today  when  the  Triumph  goes  out  across 
the  bar,  Movietone  News'  camera  equip- 
ment will  be  tucked  in  with  the  mail  and 
supplies.  We've  been  waiting  for  just  such 
a  glowering  day  to  make  the  trip. 

The  commanding  officer  takes  a  last  look 
at  the  barometer  and  signals  us  aboard. 
We  button  up  our  waterproof  jackets,  store 
the  cameras  solidly  into  a  protected  corner, 
and  assume  a  nonchalant  air  as  the  small 
boat  noses  out  of  its  mooring. 

A  powerful  surge  of  motors  drones 
above  the  wind.  Commander  McCormick 
takes  a  wide  stance  behind  the  wheel.  "The 
best   boat  in  the  whole  service!"   he  savs 


Upper  picture,  at  Tillamook   Rock  the  men  and   supplies  are  taken  to  and  fro  by 

breeches  buoy.    Lower,  every  second  Tuesday  the  Triumph  edges  in  on  the  swells, 

to  send  supplies  up  on  the  swinging  boom. 


International  Photographer  for  April,  1941 


proudly.  "She  can  stand  a  rougher  gale 
than  any  other  craft  in  these  parts. 

"Remember  that  night  when  the  Iowa 
went  down — and  every  man  on  board  was 
lost?  Well,  we  were  there,  combing  through 
the  waves.  Sometimes  she  was  darn  near 
standing  on  her  beams,  but  the  Triumph 
weathered  the  gale!" 

I  take  appreciative  mental  note  of  our 
motorized  life-boat.  She  is  some  sixty-five 
feet  long,  with  an  all-metal  hull.  There  is 
two-way  radio  equipment,  one  life-raft 
lashed  above  the  compact  deck.  The  Tri- 
umph was  obviously  not  designed  for  com- 
fort, there  are  no  upholstered  corners  for 
taking  one's  ease.  Every  inch  of  space 
counts. 

As  she  throbs  against  the  choppy  harbor 
you  get  a  strange  feeling  that  she  is  a 
thing,  alive;  a  gallant,  fighting  thing  that 
challenges  the  sea. 

The  Triumph  might  be  called  a  glorified 
surf-boat.  She  has  safety-compartments. 
In  case  she  were  dashed  against  a  rock, 
she  would  be  only  partially  disabled.  Then, 
there  is  another  cheerful  thought  —  al- 
though she  might  capsize,  the  Triumph 
would  right  herself. 

"If   we   should   get   swamped,"   caution; 


Mac.  "grab  for  a  life-line  and  cling  to  the 
ship.    We're  practically  indestructible." 

I  move  over  a  step  to  get  out  of  the  icy 
spray  that  is  breaking  across  the  prow,  and 
divide  my  attention  between  the  piling 
waves  that  keep  rushing  at  us,  and  the  mat- 
ter-of-fact sagas  of  the  sea  that  Commander 
Mac  is  relating. 

Behind  us,  the  five-mile  expanse  of  the 
river's  mouth  merges  into  a  last,  stormy 
view  of  Astoria.  Oregon — ahead,  a  per- 
sistant rumbling  sound  tells  us  that  the 
breakers  are  pounding  against  the  jetties. 
This  is  my  first  trip  across  the  Columbia 
River  Bar. 

Mac  looks  at  us  obliquely,  as  though  he 
is  secretly  enjoying  our  private  impres- 
sions. 

Suddenly,  we  change  our  angle  of  prog- 
ress and  head  for  a  wall  of  sprav.  This 
rises  and  falls,  like  Northern  Lights.  Still 
far  away,  it  comes  and  goes,  stretching 
high  above  the  waves  that  surround  us. 

"Feeling  a  little  sea-sick?"  ventures  our 
host.  "Don't  let  it  bother  you;  it's  all  a 
state  of  mind." 

Which  reminds  me  to  get  out  a  lemon 
that  I  brought  along  for  just  such  an  emer- 
gency.    There  s   nothing   like  a  good   sour 


FAXON  DEAN 

CAMERAS,    BLIMPS-DOLLYS 

fobs  K~vr 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


EASTERN 


headquarters  i  RENTALS  •  SALES  •  SERVICE 


FOR  THE 


CAMERAMAN 


PioJeMic*uU  Studio  atui  GuttitUf  (loo*n  C<^uip*fte*U 

Available  At  All  Times 


*  MITCHELL  —  Standard,  Hi-speed,  Silenced  and  N  C  Cameras  * 

*  BELL  &  HOWELL  —  Standard,  Hi-speed,  Process  and  Eyemo  Cameras  * 
•k  WALL  —  Latest  Model  Single  System  Sound  Cameras  * 

*     FEARLESS    BLIMPS.    FEARLESS    and    RABY 

PANORAM     DOLLYS.    FRICTION    and    GYRO     TRIPODS     * 
INTERLOCK.    SYNCHRONOUS.    HI  SPEED    and   VARIABLE    SPEED   MOTORS   with   TACHOMETERS 
*     35mm     DOUBLE    SYSTEM     RECORDING    EQUIPMENT     * 

*  COOKE    SPEED    PANCHRO    and     ASTRO     PAN    TACHAR     LENSES 

all    focal    Icnqtht  — Fl  LTER  S    and     LIGHTS     * 
MOVIOLAS    *    SYNCHRONIZERS     *     REWINDS 

WE  SPECIALIZE  in  REPAIR  WORK  on  MITCHELLand  BELL&HOWELL  CAMERAS 


FRANKZUCKER 


CABLE  ADDRESS:  CINEQUIP 


*  AMERA    EQUIPMENT 


1600   BROADWAY  nyc 


CIrcle  6-5080 


lemon  to  bolster  up  your  state  of  mind  in 
a  rough  sea.  The  Triumph  rises  and  falls, 
each  lurch  seeming  to  push  us  closer  to 
the  spray. 

Then  it  dawns  upon  me  that  this  is  not 
actually  spray,  but  a  solid  wall  of  foam- 
topped,  heaving  water.  It  is  the  ocean,  the 
storm-mad  Pacific,  rolling  against  its  bar- 
riers, crushing  the  comparative  calm  of  the 
river,  which  has  come  to  the  end  of  its 
way. 

We  are  about  to  cross  the  bar! 

The  Triumph  plunges  into  the  first 
breaker;  she  strikes  against  it,  and  shivers. 
Then  comes  a  lull,  while  she  climbs  to  the 
top  of  a  gigantic  wave.  With  a  sickening 
lurch,  the  boat  seems  to  drop  from  under 
us.  I  pick  myself  off  the  deck  and  take  a 
vicious  bite  out  of  the  lemon.  Mac  is 
grinning. 

During  the  next  lull,  we  hastily  don  life- 
jackets. 

"Just  natural  government  precautions," 
says  the  commander.  "Not  that  I  am  ex- 
pecting any  trouble." 

Mac  is  really  enjoying  this.  If  Movie- 
tone wants  pictures,  he's  the  man  who  can 
provide  the  thrills. 

A  couple  of  Coast  Guard  men  help  to 
anchor  the  tripods,  and  we  go  about  the 
business  of  trying  to  capture  the  giant  seas 
on  film.  This  goes  on  for  several  min- 
utes, until  finally  the  seas  settle  into  a 
steady,  rolling  beat.  Off  the  stern,  the  long 
jetties  are  disappearing  in  a  driving  rain. 

We  have  crossed  the  bar. 

My  lemon  is  chewed  to  bits. 

I  wonder  just  where  Tennyson  got  his 
first-hand  inspiration  for  the  poem,  that 
goes: 

"May  there  be  no  moaning  of  the  bar. 
When  I  put  out  to  sea.  .  .  ." 

And  so,  once  more,  the  Coast  Guard  has 
gone  through,  where  great  ships  fear  to 
tread. 

Heeding  the  storm-signals,  all  naviga- 
tion has  halted  outside  the  bar,  until  a 
safer  time  to  pass.  But  the  Triumph  wal- 
lows heroically  through  the  storm,  for  it 
is  a  "Second  Tuesdav,"  and  eighteen  miles 
at  sea  is  Tillamook  Rock. 

There  six  men  are  waiting  for  mail  and 
supplies.  The  Coast  Guard  boys  will  get 
through.  Commander  McCormick  and  the 
Triumph   will  not  fail  them. 


"Parachute  Battalion"" 

•  Paul  Kelly  and  Richard  Cromwell,  two 
of  Hollywood's  most  popular  character  ac- 
tors, have  been  signed  for  major  support- 
ing roles  in  "Parachute  Battalion,"  which 
Producer  Howard  Benedict  sends  before 
cameras  at  RKO  Radio  on  March  25th. 
Leslie  Goodwins  will  direct. 

John  Twist  and  Capt.  John  H.  Fite,  U.  S. 
Air  Corps,  collaborated  on  the  screen  play 
of  "Parachute  Battalion,'  first  motion  pic- 
ture to  be  based  on  the  dare-devil  lives 
led  bv  Uncle  Sam's  new  parachute  troopers. 


it's  coiviiNq! 


It's  coming  vacation  time!  That  snap- 
shooting season  when  memories  are  stored 
away.  Have  you  thought  about  it?  Maybe 
you  haven't  because  you're  busy  and  time 
passes — you  wonder  where.  Maybe  the 
eyes  aren't  squinty  yet,  but  they  will  be 
and  you'll  be  askin'  yourself:  "Where  can 
[  I  go  for  a  day — or  a  week — to  get  rid 
of  this  'squinteye'?" 

What  about  the  family?  or,  maybe  you're 
a  lone  wolf  and'll  want  to  get  away  by 
yourself — where  it  don't  cost  much;  some- 
where that'll  help  you  find  out  what's  both- 
erin'  you — why  you  did  it,  or  why  you 
didn't:  you  just  want  to  rest  and  not  work 
at  it.  Take  the  snap-lense  and  a  roll  of 
film  and  beat  it. 

There  is  one  place  in  this  blessed  coun- 
try few  people  go  to,  a  charming  restful 
place  at  any  time  of  the  year — if  you  just 
want  rest!  Did  I  hear  you  ask:  "Where 
is  it?"  "Frazier  Mountain  Park!"  Ever 
hear  of  it?     Not  many  people  have. 

Well.  Frazier  Mountain  Park  is  four 
miles  west  of  Highway  99,  on  Route  368. 
forty-four  miles  south  of  Bakersfield  and 
seventy  miles  north  from  Los  Angeles  in 
the  midst  of  the  Tehachapi  Mountains,  mid- 
way between  Lebeck  and  Gorman. 

Visited  by  few  motorists  because  only  a 
few  are  aware  of  the  location  known  only 
by  word  of  praise  from  those  who  "week 
end"  there  to  enjoy  the  wine  purity  of  the 
air  and  cut  down  on  the  Scotch  and  soda 
desire  and  drink  the  clear  water  of  crystal 
flowing  springs  and  spread  out  in  the  rest- 
ful shade  of  spreading  oaks  and  pine  for- 
;est.  Not  a  bad  place  to  sneak  away  to  for 
a  day.  a  week,  or  longer. 

It  is  exceptional  that  in  this  great  state 
of  crowded  tourist  travel,  a  place  combin- 
ing the  natural  health  qualities  of  rare 
pure  air  and  water,  together  with  alluring 
natural  beauty  and  convenience  for  outdoor 
sports  through  all  the  seasons,  could  be 
tucked  away  in  the  mountains  so  close  to 
,  home  and  so  little  known. 

Midway  between  Lebeck  and  Gorman  is 
the  junction  of  Route  368,  well  marked  and 
curving  off  to  the  west  of  Highway  99. 

Ascending  to  an  altitude  ranging  vari- 
ously from  4500  to  5100  feet,  the  wanderer 
reaches  the  entrance  of  the  "Park." 

The  settlement  of  Frazier  Mountain  Park 
'  is  unique  in  its  apparent  invisible  govern- 
ment, and  the  fact  that  its  citizens  are 
peaceful  and  law  abiding,  without  any- 
visible  restraint  of  law  enforcement.  Dis- 
orderly conduct  is  not  a  disturbing  ele- 
ment of  this  delightfully  quiet  community. 

No  officer  of  the  law  is  there  to  interfere 
with  the  "goings  and  comings"  of  visitors. 
The  locking  of  doors,  the  closing  of  blinds 
and  the  drawing  of  shades  has  never  be- 
come a  habit. 

Until   several    years    past,    this    "Honor" 


community  governed  its  affairs  by  peaceful 
adjustment,  until  one  day  a  newcomer  ar- 
rived and  became  a  permanent  resident  as 
well  as  a  member  of  its  Elders,  and  gave 
voice  to  his  opinions. 

He  brought  with  him  from  his  "outside" 
world  his  possessions,  material  and  mental, 
displaying  stubbornly  a  cultivated  sense  of 
suspicion. 

The  simple  trusting  simplicity  of  his  new 
environment  caused  him  much  uneasiness, 
which  increased  till  he  mistrusted  his 
neighbors  and  became  the  community's  first 
disturbing  element. 

His  long,  insistent  shout  demanded  that 
the  safety  of  person,  morals  and  property 
required  the  active  presence  of  a  law  rep- 
resentative in  their  midst  to  insure  security 
of  mind. 

A  delegation  was  appointed  to  make  the 
proper  application  at  the  Sheriff's  office, 
forty-four  miles  away  at  the  County  seat, 
resulting  in  the  appointment  of  a  deputy 
to  enforce  "Law  and  Order." 

Behind  the  authority  vested  in  a  new 
shining  badge  the  deputy  moved  in  and 
proceeded  to  perform  his  spying  and  peek- 
ing duties.  And  then  trouble  commenced 
to  stalk  grimly  through  the  winding  lanes 
of  the  settlement,  crowding  out  the  laugh- 
ter and  pleasures  of  good  neighbor  gather- 
ings, unrest  in  the  little  cafes,  and  much 
whispering  in  secluded  places. 

The  tranquility  of  this  Utopian  com- 
munity was  severely  disturbed,  culminating 
one  evening  when  one  of  its  young  men. 
participating  in  a  friendly  gathering,  de- 
parted to  wend  his  way  to  his  little  cabin, 
happily  singing  his  way  through  the  light 
and  shadows  of  a   balmy   full  moon,   per- 


By  burr  McGregor 

haps  not  too  steadily,  and  too,  the  singing 
was  a  wee  bit  in  discord,  but  he  was  happy; 
the  dreadful  burden  of  the  new  law  had 
shifted,  but  it  climbed  back  and  perched 
unpleasantly,  for  the  law  sprang  out  of  the 
shadows,  and  he  was  placed  under  arrest 
for  disturbing  the  peace,  whisked  away  to 
the  Sheriffs  office,  jailed  and  sentenced  to 
six  months. 

The  seething  pot  of  brewing  trouble 
boiled  over — it  couldn't  take  any  more 
heat!  The  Elders  of  the  community  stormed 
into  the  Sheriff's  office  demanding  the  scalp 
of  the  ambitious  deputy — the  pelt  was 
granted,  and  the  objectional  citizen  moved 
out. 

Through  this  experience  a  judgment  of 
peace  again  enveloped  the  community  with 
sweet  calm  as  the  citizens  proclaimed 
proudly  to  the  "outside"  world  the  cleans- 
ing of  their  honor. 

During  the  open  hunting  season  the  re- 
gions hereabout  become  a  joyful  stamp- 
ing ground  for  ambitious  hunters.  Being 
within  the  confines  of  Los  Padres  National 
Forest,  all  game  is  rigidly  protected 
through  the  closed  seasons  and  definite  re- 
strictions imposed  on  the  limit  of  game 
that  can  be  taken. 

Deer  are  plentiful.  So  are  quail — both 
the  mountain  and  valley  specie. 

Wild  pigeons  descend  into  the  valley  in 
clouds  of  great  numbers  during  the  season 
when  the  pine-nuts  are  falling,  and  leave 
as   quickly   as  they   arrived — all   together. 

The  immediate  vicinity  of  the  "Park"  is 
closed  to  all  hunting  throughout  the  year, 
resulting,  in  the  hunting  season,  of  many 
deer  rushing  into  the  area,  instinctively, 
for  protection. 


International  Photographer  for  April,  1941 


Flowing  springs  under  spreading  oaks. 


During  the  early  '70's  a  wandering  pros- 
pector known  as  "Old  Frazier"  uncovered 
a  vein  of  gold  at  the  base  of  the  high 
mountain  adjacent  to  the  "Park." 

According  to  the  legends  of  the  oldest 
settlers,  over  a  million  dollars  was  taken 
from  the  workings  of  the  discovery;  the 
mountain  was  named  after  the  old  pros- 
pector and  the  settlement  was  put  on  the 
maps  as  "Frazier  Mountain  Park." 

One  of  the  winter  sport  projects  now 
being  developed  that  will  attract  enthusi- 
asts from  all  over  the  country,  and  foreign 
places — what's  left  of  them — is  a  ski-slide 
starting  at  the  summit  of  Mt.  Pinos,  close 
by,  that  will  follow  the  gentle  slopes  into 


the  valley,  a  trifle  over  five  miles.  A  State 
Highway  has  been  surveyed  to  the  summit, 
and  then  on  down  into  the  further  valleys 
to  connect  with  Coast  Highways. 

The  "Park"  has  a  sprinkling  of  fine  mod- 
ern cabins  nestling  among  the  old  wide 
spreading  oaks,  and  tall  fragrant  pines  that 
blend  in  charmingly  with  the  landscape. 
There  is  an  abundance  of  clear  crystal 
spring  water,  electricity  and  wood  fuel  for 
open  fireplaces. 

For  those  enthusiasts  who  roam  with  a 
"Coach  Trailer"  there  are  spots  of  restful 
beauty  and  privacy.  A  vacation  place  that 
will  make  the  old  young  again  and  keep 
the  young  in  the  vigor  of  their  youth. 


would  ThROuqh  The  camera 


(Continued  from  Page  5) 


and  back  streets,  grabbed  my  boat  just  as 
it  was  pulling  off. 

In  one  of  our  expeditions  we  discovered 
the  remains  of  a  people  called  the  Dune 
Dwellers  of  Shabrak  Usu,  who  had  lived 
in  the  Gobi  Desert  twenty  thousand  years 
ago. 

In  Indo  China  I  contracted  a  malady 
that  made  me  deaf  for  weeks  (but  I  can 
hear  better  than  ever  now ) . 

Some  of  my  most  terrifying  hours  were 
spent  aboard  our  pearling  lugger  one  black 
night  during  a  hurricane,  an  eight-knot 
cross  tide  and  our  engine  refusing  to  do 
more  than  five  knots,  and  we  right  in  the 
middle  of  the  most  dangerous  waters  of 
the  Great  Barrier  Reef  off  Thursday  Island, 
Australia.  We  spent  the  night  on  beam 
ends  with  tons  of  our  gear  and  food  crash- 
ing about  and  two  drums  of  wood  alcohol 


flooding  the  decks,  which  meant  no  lights 
of  any  kind,  and  every  moment  we  feared 
that  a  spark  from  the  lousy  engine  might 
set  us  off  into  Kingdom  Come.  With  an- 
chors out  we  could  do  nothing  but  hang 
on  by  all  fours  like  monkeys  until  morn- 
ing came. 

In  the  shadow  of  the  Pyramids,  in  Egypt, 
I  made  the  discovery  of  the  remains  of  a 
prehistoric  race  that  had  lived  there  fifty 
thousand  years  before  the  Pyramids  were 
built.  For  this  I  received  an  appreciative 
acknowledgment  from  the  Museum  of  Nat- 
ural History  in  New  York.  They  said  the 
discovery  firmed  an  important  link  in 
tracing  distribution  of  "homo  sapiens"  on 
this  good  old  planet  of  ours. 

Happenings  like  these  do  break  the  mo- 
notony and  any  one  of  these  experiences 
would    make  a   good   story  in   itself.    One 


'rm? 


Shackelford  gets  some  close-ups  of  Balinese  dancing  girls. 


of  these  days,  through  the  pages  of  Inter- 
national Photographer,  I  will  tell  you 
more  of  these  "carryings  on."  It  will  not 
be  long  before  you  will  see  a  collection 
of  these  tales  in  book  form  similar  to  one 
now  published,  called  "Two  Lugs  on  a 
Lugger,"  by  George  Dromgold,  which  nar- 
nates  a  year's  picture  expedition  of  Drom- 
gold and  myself  to  the  South  Seas. 

My  travels  for  picture  material  have 
carried  me  over  600,000  miles  to  many  far 
corners  of  the  earth,  and  I  hope  to  double 
that  mileage  before  I  wrap  up  the  old  box 
for  good.  There  are  so  many  things  yet 
to  be  photographed,  unbelievable  things 
that  can  only  be  proven  through  the  med- 
ium of  sound  and  color  motion  pictures. 

A  few  of  the  things  I  have  listed  in  my 
little  black  book  yet  to  be  captured  pictori- 
ally  are:  A  practically  unknown  islet  in- 
habited only  by  giant  ants.  There  are  over 
1,800  ant  habitations  on  the  island,  aver- 
aging sixteen  feet  in  height  and  sixteen  feet 
across  at  the  base,  and  so  thickly  built  as 
to  resemble  a  modern  city  of  towering  sky- 
scrapers. 

Then  there  is  a  country  where  the  hair- 
less ape  roams  about  at  will,  walking  up- 
right like  humans  and  building  his  home 
in  the  tree  tops.  And  speaking  of  apes, 
there  is  another  place  where  monkeys  swim 
under  water  and  catch  fish. 

And  listed,  too,  in  the  little  book  is  a 
cone  shaped  island  rising  nearly  straight 
up  out  of  the  sea,  where  over  3,000  people 
have  literally  woven  their  houses  into  the 
tangled  vegetation  covering  the  cliff-like 
sides  of  the  island.  The  natives  lash  their 
canoes  to  the  precipitous  slopes  with  vines, 
as  there  are  no  beaches  and  there  is  no 
walking  around,  as  they  can  only  climb 
about  while  ashore;  the  "island  of  human 
ants,"  I  call  it. 

Have  you  ever  seen  the  place  where  the 
poultry  peddler  walks  around  with  an  enor- 
mous crate  filled  with  four  or  five  dozen 
live  chickens  picked  clean  of  their  feathers, 
the  crate  balanced  precariously  on  his 
head?    Handy  for  the  housewife,  no  doubt. 

Then  there  is  an  island  about  two  miles 
in  diameter.  From  seaward  it  appears  to 
be  a  ring  of  barren  cliffs  sixty  to  eighty 
feet  high,  but  at  low  tide  and  after  care- 
ful search  you  may  find  a  winding  entrance 
where  you  can  go  through  in  a  small  boat, 
and  once  inside  discover  a  beautiful  lagoon 
surrounded  by  smooth  sand  beaches  and 
luxuriant  tropical  vegetation  and  inhabited 
by  some  two  hundred  natives.  A  friend  of 
mine  who  was  there  a  few  years  ago  said 
the  natives  claimed  he  was  the  first  white 
man  they  had  seen  in  twenty  years. 

I  don't  know  why  so  many  of  my  fellow 
camera  explorers  have  passed  up  such  in- 
teresting material,  but  I  do  know  that  as 
soon  as  the  present  unpleasantness  involv- 
ing the  different  countries  is  over,  I'll  be 
on  my  way  again,  with  a  sound  and  color 
camera. 


10 


THE  DeVRY  STUDIO  SOUND  CAMERA 

The  Exemplar  of  the 
World's  Largest  and  Finest  Line  of  Motion  Picture  Sound  Equipment 


DeVRY  CORPORATION 


INTERNATIONAL  PHOTOGRAPHER  for  April,  1941 


1111    ARMITAGE   AVE.   CHICAGO 

NEW  YORK  (Established  191 3)  HOLLYWOOD 


11 


sTudios'  stUI  phoToqRAphy  show 


As  announced  in  last  month's  issue  of 
International  Photographer,  the  First 
Annual  Exhibition  of  the  Hollywood  Stu- 
dios' Still  Photography  Show  is  being  held 
•April  14  through  April  27. 

Sponsored  by  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  the  committee 
in  charge  of  the  exhibit  are:  Perry  Lieber, 
Chairman:  John  Joseph,  Howard  Strick- 
ling,  George  Brown,  Louis  Smith,  Harry 
Brand.  Robert  Taplinger,  Frank  Selzer, 
Jock  Lawrence,  John  LeRoy  Johnson,  Don- 
ald Cledhill. 

Following  is  an  analysis  by  studios  of 
total  entries  submitted: 

COLUMBIA 

Milton  Gold  3 

Irving  Lippman  11 

M.  B.  Paul 2 

A.  L.   (Whitey)    Schafer 6 

22 

METRO-GOLDWYN  MAYER 

Virgil  Apger  19 

Frank  Bjerring  4 

Milton  Brown  6 

Clarence  Bull  6 

Eric  Carpenter  12 

Ed  Cronenweth  9 

William  Grimes  12 

Bert  Lynch  4 

James  Manatt  7 

xMerritt  Sibbald  4 

Frank  Tanner  11 

Lazlo  Willinger  16 

110 

PARAMOUNT 

C.  Kenneth  Lobben 8 

Hal   McAlpin  7 

G.   E.   Richardson 4 

Eugene    Robert    Richee 14 

33 

RKO  RADIO 

Ernest  A.   Bachrach 15 

Fred  Hendrickson  7 

Alexander  P.  Kahle  ..  24 

Gaston  Longet  12 

John  Miehle  22 

Oliver  Sigurdson  6 

—  86 

20TH  CENTURY-FOX 

Gene  Kornman  17 

Clifton    Maupin    13 

J.  C.  Milligan 11 

Ray  Nolan  4 

Frank  Powolny  12 

Emmett  Schoenbaum  19 

Anthony  Ugrin  11 

lurk    Woods    10 

—  97 
I  NIVERSAL 

Sherman   Clark   7 

Ed  Estabrook    14 

Roman  Freulirh                               19 

Eddie  Jones 7 

Hay  Jones  14 

William   Walling   4 

65 
WARNERS 

Schuyler  Crail  15 

Mack  Elliott  6 

Elmer  Fryer  13 

Mac  Julian  19 

Madison  Stoner  Lacy H) 

Berl  Longworth       23 

Micke)   Marigold       13 

Fred    R.    Morgan II 

Berl    Six    14 

12 


Charles  Scott  

Scotty   Welbourne   12 

136 
HAL  ROACH 

Thomas   Evans  7 

Stax  Graves   14 

Jerry  Hester  7 

28 
OTHERS 

Robert  Coburn 

Goldwyn    4 

Korda     9 

Lesser  5 

RKO  Radio  2 

20 
Warner  Crosby 


Monogram  13 

Cathedral  2 

—        15 
Ira  Hoke 

Hughes  8 

William  Wallace 

Chaplin    11 

Ned  Scott   4 

John  Ellis  1 

Wanger    5 

Total    Entries   Submited 636 

Number  of  Photographers  Submitting  Entries    59 

The  committee  has  announced  that  ama- 
teur camera  fans  are  invited  and  may 
bring  along  their  cameras  if  they  wish. 


Mood  CreatecI  by 


Jack  Greenhalgh,  who  has  photographed  a 
large  number  of  pictures  during  the  time  he  has 
been  a  first  cameraman,  has  had  varied  experi- 
ence in  exterior  photographic  work.  Greenhalgh 
wishes  to  record  for  the  benefit  of  his  colleagues 
what  he  believes  to  be  the  rewards  of  experience 
which  is  the  only  school  through  which  men  can 
become  cameramen.  He  maintains  that  there  is 
no  prepared  formula  to  be  laid  down  by  which 
others  might  copy  past  performances.  He  recom- 
mends that  one  study  the  work  done  by  another 
and  then  apply  himself  through  a  series  of  ex- 
periments by  which  he  finally  can  attain  the  same 
effect.  He  will  be  more  than  glad  to  have  others 
comment  upon  this  article.  We  feel  that  perhaps 
others  may  elucidate  or  bring  other  points  to  bear 
and  so  create  an  open  forum  through  which  all 
may  benefit. —  (Editorial  Note.) 

Filters  can  play  as  great  a  part  in  a 
screenplay  as  sets,  scenery,  or  even  actors. 
Bearing  in  mind  that  the  primary  purpose 
of  a  motion  picture  is  to  tell  a  story  and 
the  audience  to  concentrate  mainly  on  the 
story,  the  cameraman  should  use  everything 
at  his  command  to  help  further  this  con- 
centration. Any  artifice  that  he  might  use 
to  distract  the  audience  from  the  plot  for 
the  sake  of  obtaining  a  beautiful  picture  so 
he  will  receive  compliments  from  others  is 
in  my  estimation  wrong.  He  should  keep 
strictly  within  the  mood  of  that  particular 
part  of  the  picture  he  is  shooting.  On  in- 
teriors naturally  he  does  this  with  his  light- 
ing, but  when  shooting  exteriors  where  to 
a  certain  extent  the  lighting  is  beyond  his 
control  he  should  do  it  with  filters. 

Of  course,  every  cameraman  knows  the 
degree  of  correction  to  be  obtained  with 
certain  filters  all  the  way  down  the  line 
from  an  Aero  1  to  a  No.  72,  etc.  He  knows 
the  amount  of  exposure  he  should  add  for 
each  filter.  He  knows  what  each  filler  will 
do  to  the  scene  he  is  photographing;  how 
it  will  affect  the  sky,  the  clouds,  the  haze, 
the  distant  hills  and  mountains.  He  knows 
what  each  filter  will  do  to  the  foreground 
of  his  scene  and   any  highlight  or  shadow 


By  JACK  GREENHALGH 

he  might  be  using  for  composition.  He 
knows  how  each  filter  will  affect  the  snow 
capped  mountains  or  the  vast  ocean.  He 
knows  what  it  will  do  to  the  trees  and  rocks 
and  he  knows  what  it  will  do  to  the  faces 
and  skin  texture  of  the  actors  in  the  scene 
he  is  shooting. 

This  is  all  well  and  proper  and  as  it 
should  be,  because  any  cameraman  worthy 
of  his  position  should  know  these  things. 
But  that  is  not  enough.  This  knowledge 
should  be  applied  to  furthering  the  con- 
struction of  the  story  by  playing  up  the 
particular  mood  in  the  sequence  that  is 
being  photographed. 

For  instance,  a  sequence  that  has  com- 
edy for  its  basic  theme  must  be  light  and 
brilliant;  consequently  a  lighter  filter  such 
as  Aero  1  or  2  should  be  used  so  the  sky 
will  not  appear  too  dark  nor  the  shadows 
too  deep.  Add  to  this  brilliant  lighting 
such  as  a  crisp  back  light  and  a  little 
warmer  light  in  the  face  and  I  think  the 
general  tone  will  lend  itself  more  to  the 
feeling  of  lightness  and  snappiness  which 
comedy  requires. 

On  outdoor  pictures,  such  as  Westerns, 
or  where  the  scenery  is  supposed  to  lend 
a  feeling  of  vastness  to  the  picture,  then 
a  slight  degree  of  over-correction  should 
be  used,  particularly  when  there  are  a  few 
clouds  in  the  skv. 

Where  the  theme  is  heavy  and  dramatic 
the  sky  should  be  very  deep  and  the  sha- 
dows dense,  filters  of  a  deep  red  are  ad- 
visable, such  as  No.  25  or  29.  If  pos- 
sible use  heavy  masses  in  composing  the 
picture  and  avoid  sparkling  highlights. 
Thus  the  effect  of  the  dramatic  situation 
will  be  achieved. 

Of  course,  each  particular  scene  has  its 
own  problems  and  solutions,  but  I  feel 
that  the  mood  of  the  story  should  be  upper- 
most in  the  cameraman's  mind  when  he 
records  his  scene. 


^Depend 


ured  wl 


itk  d5ox  KJwice  ^rppeal 
eVena  on    SPEED    GHAPHIC 


The  picture  above — "Gelaendesprung"  by  Ray  Atkeson,  ably  illustrates 
the  unusual  capabilities  of  Speed  Graphic  cameras.  Using  his  4x5 
Speed  Graphic  at  1/825  second  and  f/8,  Mr.  Atkeson  obtained  not  only 
"stopped  action"  but  clarity  of  detail  in  both  foreground  and  distance  .  .  . 
plus  a  negative  size  that  permitted  great  enlargement  without  loss  of  this 
detail.  No  wonder  his  picture  was  a  prize-winner  in  the  Action  Class  of  the 
Graflex  Golden  Anniversary  Picture  Contest ! 

Dramatic  pictures  like  this  have  real  box  office  appeal.  Standardize  on 
Speed  Graphic-made  stills.  See  the  new  Anniversary  and  Miniature  models 
at  your  Dealer's.  Priced  from  $1 1 7.50  with  American-made  Kodak  Ektar 
f/4.5  lens  in  Supermatic  shutter.  .  .  .  When  in  New  York  City  visit  the 
Graflex  Display  Rooms  at  50  Rockefeller  Plaza. 


Here  are  two  valuable  reference  books; 
Graphic  Graflex  Photography  by  Willard  D. 
Morgan,  Henry  M.  Lester  and  20  other 
experts;  and  Photographic  Enlarging  by 
Franklin  I.  Jordan,  F.R.P.S.  —  $4.00  and 
S2.50   respectively,   at  your  Dealer's. 


International  Photographer  for  April,  1941 


FREE  GRAFLEX  E/YTALOG  For  more  complete 
information  get  the  Graflex  catalog.  Free  at  your  Dealer's 
or  from  us.  Folmer  Graflex  Corporation,  Dept.  IP-2, 
Rochester,  N.  Y.  (Western  Division:  3045  Wilshire 
Blvd.,  Los  Angeles.) 


GRAFLEX 

AMERICAN-MADE 

^CAMERAS 


13 


In  Tropical  Isles  with  Shackelford 


On  the  Island  of  Gona  Hara  Bara.  Shackelford  left,  Dromgold  right,  under  what  is  called  the  rain  tree.  The 
leaves  fold  up  at  night,  catching  any  moisture  that  falls,  and  upon  slowly  opening  the  next  morning  create  a 
miniature  shower  lasting  an  hour  or  more.  Here  they  went  ashore  for  some  of  their  most  beautiful  South 
Sea  scenes,  later  to  learn  something  that  made  their  "flesh  crawl."  The  place  was  literally  alive  with  giant 
pythons.    Luckily    their  habits  are  nocturnal. 

14 


Headquarters  in  Fiji  Islands,  where  Shackelford  and  his  party  were  marooned  for  six  weeks  during  a  deluge 
that  fell  steadily,  twenty-four  hours  a  day,  the  entire  time.  In  the  doorway  are  Shackelford  (left),  Dromgold 
and  Rota  Pope,  the  Island  Chief.  Here  they  got  their  fill  of  tropical  fruits  and  fish  (sometimes  as  many  as 
five  kinds  at  dinner).  They  sampled  everything  that  grew  in  the  sea,  from  seaweed  to  sharks  and  slugs;  crabs, 
crayfish,  prawns,  lobster  and  parrot  fish  of  every  hue. 

15 


esseIIe  pARichy,  iviiAivii  hosT 


Pat    Comiskey    "ofr-slaBe";    Lew    Tendler    (left)    and    llrnny    Leonard    dance    a    nice 

four   rounds   at   the    Itrii i-li    American    Ambulance    dorps    benefit    fight    at    Miami;    Pat 

Comiskey    (left)   with   Domingo  Valin  on   the  canvas,   first   round — 2   minutes  and    16 

seconds.     (Leica   pholtts   hy  Parirhy.) 

16 


Dear  Herb: 

As  I  wrote  you  before,  "I  have  a  ship 
that  never  goes  to  sea."  What  I'm  trying 
to  say  is:  Pat  Comiskey,  the  coming  giant 
heavyweight,  from  New  Jersey,  has  been 
staying  in  the  Ships  quarters  for  the  past 
month  preparatory  to  his  fistic  bout  with 
your  California  boy,  Domingo  Valin. 

The  fight  was  held  here  in  Miami,  March 
9th,  you  know,  for  the  benefit  of  the  Brit- 
ish   American    Ambulance   Corps. 

It  was  a  very  good  show  all  around, 
Herb.  While  this  is  not  a  very  good  fight 
town  they  packed  them  in  to  a  gross  of 
14  G's.  I  got  me  a  ringside,  and  it  was 
worth  it.  Jack  Kearns  put  on  the  show 
at  the  Biscayne  Fronton. 

I've  been  housing  Pat's  stable  mates  here, 
too.  His  manager,  trainer,  sparring  part- 
ners, and  the  lesser  lights  of  the  W.  P. 
Daly  Stable.  There  is  another  clever  boy 
in  the  stable  with  Pat.  He  is  Irish  Eddie 
Pierce,  from  Cape  Town,  South  Africa.  He 
won  his  ten  rounds  over  Ben  Brown,  from 
Atlanta. 

This  show  had  Maxie  Rosenbloom  and 
Levinsky.  They  danced  a  good  four  rounds. 
Then  Benny  Leonard  took  on  Lew  Tendler 
for  another  four.  The  Great  Jack  Demp- 
sey,  the  oF  Manassa  Mauler,  refereed  the 
Buddy  Knox-Melio  Bettina  ten  rounder.  It 
never  got  that  far;  Bettina  gave  Knox  a 
powder  in  the  fifth  round. 

But  the  thrill  of  the  night  was  when 
Pat  Comiskey  knocked  out  Domingo  in  the 
first  round.  It  went  only  two  minutes  and 
16  seconds.  Funny  how  the  thing  hap- 
pened— Pats  left  only  traveled  about  six 
inches  to  Domingo's  jaw.  In  the  ring,  Pat 
never  telegraphs  a  punch.  He  just  truns 
'em.  He's  left-hand  crazy,  that  boy.  Do- 
mingo "should'a  stood  in  bed,"  or  should'a 
stayed  in  California,  as  far  as  the  fight 
was  concerned. 

After  the  fight  I  went  into  Domingo's 
dressing  room  for  his  scratch.  I  got  the 
whole  program  full  of  scratches.  I'm  a 
sucker  for  autographs  .  .  .  you  know.  I'm 
saving  them  for  Sargasso  Sam.  Well,  Do- 
mingo told  me  he  never  knew  what  hit 
him  when  Pat  truned  that  left.  Domingo 
is  a  nice  guy.    And  he  likes  Miami. 

Sunday  afternoon  before  the  fight  I 
went  into  the  ship's  quarters  to  talk  to 
Pat.  He  was  in  the  lower  bunk,  reading  the 
funny  papers. 

"Hello,  Hercules,"  I  said.  "Listen  .  .  . 
Pat.  This  morning  out  on  the  golf  course 
a  friend  of  mine  gave  me  an  even  money 
bet  .  .  .  ten  bucks  .  .  .  that  the  California 
bov  will  take  you  tonight.    How  about  it?" 

Pat  rolled  over  in  his  bunk  and  said: 
"Who's  the  sucker?  Why  .  .  .  they're  only 
giving  8  to  5  that  I'll  knock  him  out!" 

"Oh  .  .  .  this  is  just  a  spite  bet  .  .  .  Pat. 
This  guy  I'm  talking  about  will  bet  against 
me  on  anything.     He's  par-happy.     I   beat 


KODATRON  SPEEDLAMP 

fylcvllt  QneeyeA  Median 


THE  girl  in  the  illustration  above  was  caught 
in  one  phase  of  a  whirl  of  fast  dance  routine. 
No  human  motion  is  too  fast  for  this  lamp. 
Models  need  not  be  posed,  but  may  be  caught 
in  the  rehearsal  of  a  bit  of  action  and  "frozen" 
with  wire-sharp  definition.  The  light  provided 
by  the  Kodatron  Speedlamp  flash  is  so  power- 
ful that  exposures  must  be  made  with  small 
diaphragm  openings,  insuring  depth  of   field. 


EFFICIENCY  AND  ECONOMY  OF  OPERATION 

The  Kodatron  Speedlamp  uses  very  little  current  and 
its  gas-filled  flash  tube  is  good  for  over  5,000  fully  efficient 
flashes  before  replacement  is  necessary.  No  special  wiring 
or  fusing  is  required  for  this  lamp.  Shutter  synchroniza- 
tion is  simple.  A  50-watt  lamp  within  the  flash  tube  gives 
a  preview  of  the  light  balance  on  the  subject. 
Kodatron  Speedlamp  complete,   including  power 
unit,  one  Kodatron  Flash  Tube,  18-inch  reflector, 
telescoping  standard,  and  synchronizer  cord  .  .  .     $400 
Kodatron  Flash  Tube  (replacement) 30 


Descriptive  circular  will  be  gladly  supplied  on  request 


EASTMAN   KODAK  COMPANY,  Rochester,  N.  Y. 


International  Photographer  for  April,  1941 


17 


Esselle    Parichy    and    Paul    Ivano,    taken    on 

Paul's    one-day    stop    at    Miami    en    route   to 

Argentina.      The     other     picture     is     aboard 

Esselle's  "ship  that  never  goes  to  sea." 


him  at  golf,  so  he  tries  some  other  way  to 
put  the  hooks  in  me." 

"Call  the  sucker  up  and  tell  him  I'm 
going  to  take  Valin  in  the  first  round  for 
you.    Want  my  gloves  .  .  .  after  the  fight?" 

"Oh  .  .  .  geeee,  yes!" 

"Okay  .  .  .  pal." 

Well,  Herb  .  .  .  that's  how  it  was.  Pat 
gave  me  the  gloves  he  wore  in  the  fight. 
They  look  new,  too.  Pat  autographed  the 
left  one.    I  told  you  he  is  left-hand  crazy. 

Well,  yesterday  I  gave  the  gloves  to 
Sargasso  Sam.  He's  going  to  hang  them 
up  over  Pat's  picture  in  his  den. 

Ivano  Visits  Miami 

While  on  the  9th  hole  of  a  golf  game 
(very  good  game,  too,  a  41  up  to  that 
point)  a  telephone  message  was  relayed 
to  me  that  Paul  Ivano,  the  "Volga  Boat- 
man," and  his  very  charming  wife  had  just 
docked  at  Port  Everglades  aboard  the  S.S. 
Uruguay. 

It  seems  that  Paul  is  South  America 
bound,  Buenos  Aires  his  destination.  (Of 
course  you  know  all  about  this,  Herb)  for 
a  year  or  maybe  three  on  a  picture  deal. 

As  this  cruise  ship  only  docked  for  the 
day,  Paul  and  his  wife  did  a  whirlwind 
tour  of  our  Magic  City  and  its  many  at- 
tractions. 

This  is  not  Paul's  first  visit.  He  has 
been    here    before    with    Lucian    Ballard    a 


number  of  years  ago.  Paul  was  amazed 
at  the  metamorphosis  of  the  Greater  Miami 
area. 

Of  course,  like  all  good  photographers, 
we  went  to  work  with  our  Leicas.  He  got 
me  to  take  to  Buenos  Aires  in  his  camera 
and  I  am  enclosing  a  couple  of  takes  that 
came  out  of  my  magic  box.  Well,  any- 
way, here  are  our  pictures  together. 

As  I  bid  the  Ivanos  "Bon  voyage"  I 
felt  a  boaty  feeling,  and  wished  I  were 
going  on  this  attractive  cruise,  which 
touches  at  such  intriguing  ports  as  Nassau, 
Barbados,  Rio  de  Janeiro  .  .  .  and  all 
points  south. 

But  the  only  cabin  I  can  occupy  at  this 
moment  is  my  Ship's  Quarters,  Guest 
House,  which  I  call  the  S.S.  Consuelo,  "the 
ship  that  never  goes  to  sea." 

Oh,  how  I  envy  Paul  Ivano,  with  the 
wind  in  his  hair,  sailing  the  tropic  waters 
under  the  Southern  Cross.  And  what  a 
boat  he  is  on  .  .  .  and  what  sights  he  will 
record  in  his  camera. 

No  doubt  Paul  will  see  the  Duchess,  in 
Nassau  .  .  .  Barbados,  with  its  pirate  lure 
.  .  .  Rio,  now  there  is  a  place  .  .  .  you 
name  it,  and  like  Aladdin's  Lamp,  it  will 
produce  your  fondest  dreams. 

It's  nice  to  see  old  friends  again  .  .  . 
and  it's  hard  to  say  goodbye.  I  wish  Paul 
the  best  of  luck  in  his  new  venture. 

Esselle  Parichy. 


ThEy  Say"' 


By  BELLA 


•  Bill  Clothier  is  married  to  a  famous 
Cuban  dancer. 

•  Allen  Thompson,  enroute  to  Point  Bar- 
row, Alaska,  on  an  expeditionary  trip  with 
Mala,   formerly  known   as  Ray  Wise. 

•  Bert  Willis  will  surprise  the  entire  pho- 
tographic profession  and  perhaps  the  cina- 
ma  industry  with  an  invention  which  should 
be  released  next  month. 

•  At  one  time  Jerry  Ash  performed  magic 
on  the  stage.  Look  out,  Jerry,  or  the  boys 
will  be  coming  to  you  for  the  same  sort  of 
stuff  in  getting  them  work. 

•  Ernest  Bachrach  is  a  painter  and  can 
hold  his  own  with  many  of  the  profession- 
als of  that  aesthetic  art. 


for  difficult  shot*  —  THE     ORIGINAL 

Scheibe's  Monotone  Filter 

INDICATES  instantly  how  even-  color  and 
light  value  of  a  scene  or  object  will  be  ren- 
dered in  the  finished  print  before  taking 
the  picture.     •:•    always  ready. 

GRADUATED  FILTERS 

FOG  SCENES,  DIFFUSED  FOCUS  AND  OTHER  EFFECTS 


Gcorqo  H.  Schcibo 

ORIGINATOR  OF   EFFECT   FILTERS 


1927  WEST  7BTM  ST. 


LOS  ANGELES.  CAL. 


•  Arthur  De  Titta,  who  was  in  charge  of 
the  Fox  Movietone  Office  in  Paris  and 
evacuated  that  city  the  day  before  its  fall, 
tells  us  this  interesting  story:  Being  a  mem- 
ber of  the  New  York  Local  644,  he  would 
from  time  to  time  mail  in  his  check.  After 
the  outbreak  of  war  and  the  mails  became 
censored,  each  time  stamps  were  placed  in 
his  card  and  same  returned  from  the  New 
York  union  offices,  the  governmental  offi- 
cials in  France  would  carefully  examine 
the  card  and  stamps,  believing  that  he  was 
some  kind  of  a  foreign  spy  and  that  the 
stamps  were  carrying  code  messages!  De 
Titta  is  now  stationed  in  Hollywood,  Cali- 
fornia, in  charge  of  the  Fox  Movietone 
office. 

•  Charles  Boyle  heads  the  first  of  the 
group  leaving  for  Ocala,  Florida,  where 
"The  Yearling,'  an  M.G.M.  location,  will 
go  into  production  in  color  for  about  three 
months.  William  Strafford,  business  repre- 
sentative of  Local  666,  is  making  prepara- 
tions in  Florida  to  see  that  all  works  out 
well  and  that  the  members  of  Local  666 
receive  some  employment  from  this  loca- 
tion. 

•  For  some  unknown  reason,  Florida 
seems  to  be  the  location  spot  for  producing 
companies      of      Hollywood,      Paramount, 


R.K.O.  and  M.G.M.,  as  well  as  Fox,  hav- 
ing been  there  within  the  last  three  months. 

•  Elmer  Dyer  and  Charles  Marshall  signed 
by  Warner  Bros,  to  be  the  aerial  photogra- 
phers on  "Dive  Bomber." 

•  The  members  of  Local  659  express  their 
deepest  sympathy  to  the  family  of  Fred 
Mayer  in  his  departure  to  the  Great  Be- 
yond. 

•  Ray  Fernstrom  has  just  completed  pho- 
tographing in  color  skiing  on  top  of  moun- 
tains in  the  Canadian  Rockies,  produced 
by  Leon  C.  Shelly,  who  produced  the 
travel  novelty  film,  "Beautiful  British  Co- 
lumbia." 

•  The  RKO  troupe  has  checked  in  from 
Fort  Bening,  Georgia.  Harry  Perry  also 
at  RKO  in  New  Orleans  winging  his  way 
west  to  the  home  studio. 

•  Off  to  Florida  again  is  Dewey  Wrigley, 
this  time  having  assistant  Ed  Soderberg. 

•  Danny  Fapp,  second  cameraman  at 
Paramount  for  many  years,  elevated  to 
first  cameraman;  while  Teddy  Tetzlaff, 
first  cameraman,  was  elevated  to  position 
of  director. 

•  Our  sincere  sympathy  to  John  McCor- 
mick  and  George  Fox  on  the  loss  of  their 
beloved  fathers. 


18 


Improve  Your  Eyemo  or  Filmo  70 


WITH  THIS 


Positive"  Viewf  inder 


i..-  -■ .  ■  ■■ , 


YES  sir — the  Eyemo  or  Filmo  70  Camera  that  you  now  have  can 
be  brought  right  up  to  date  by  fitting  to  it  the  new  Bell  &  Howell 
Positive  Viewfinder  and  Viewfinder  Turret  which  mounts  three 
matching  viewfinder  objectives. 

The  new  units  are  not  expensive,  and  they're  so  designed  that  you 
can  easily  install  them  yourself. 

THE  NEW  "POSITIVE"  VIEWFINDER  magnifies  rather  than  masks, 
with  any  lens.  The  entire  finder  aperture  is  filled  with  large-size, 
upright,  sharply  outlined  image.  Eye  parallax  is  eliminated.  Even 
■when  your  eye  wanders  from  the  exact  center  of  the  eyepiece,  you 
still  see  precisely  the  field  being  filmed. 

NEW  VIEWFINDER  TURRET  enables  you  to  select  matching  view- 
finder  objective  unit  with  same  speed  you  pick  the  lens. 

Mail  the  coupon  now  for  details  and  cost  of  bringing  your  present 
Eyemo  or  Filmo  70  right  up  to  the  moment.  Other  new  features  may 
also  be  added — see  coupon.  Bell  &  Howell  Company,  1849  Larch- 
mont  Ave.,  Chicago;  30  Rockefeller  Plaza,  New  York;  716  North  La 
Brea  Ave.,  Hollywood;  13-14  Great  Castle 
St.,  London.  Established  1907. 


FILMO  70-  D: 

Master  of  personal 
movie  cameras  —  de- 
signed and  built  by  the  master  crafts- 
men who  make  Hollywood's  pre- 
cision equipment.  Seven  film  speeds, 
including  slow  motion;  turret  head 
for  quick  lens  changes;  wide  variety 
of  optional  accessories,  all  remov- 
able without  tools — electric  motor 
drive,  external  magazines  holding 
up  to  400  feet  of  film,  and  others. 
Coupon  brings  details. 


PRECISION-MADE    BY 


BELL  &  HOWELL 


NO  MASKING... 
NO  EYE  PARALLAX; 

WHAT  YOU  SEE  in 
the  Viewfinder  will  be 
projected  on  the  screen 


No  other  camera  offers  the  professional  the 
versatility  and  dependability  of  the  Eyemo. 
Swift  change  of  lenses;  conversion  from 
100-film  capacity  to  200-  or  400-foot  maga- 
zines; tripod  mount  or  light,  easy-to-handle 
hand  camera;  change  from  electric  to  spring 
or  hand  drive;  silent— or  hookup  for  sound; 
slow-motion  or  silent  or  sound  speeds,  plus 
the  two  new  features  that  assure  accurate 
composition  and  quicker  setup — "Positive" 
Viewfinder  with  Viewfinder  Turret. 


BELL  &  HOWELL  COMPANY  ip  *■*' 

1849  Larchmont  Ave.,  Chicago,  111. 

□  Send  details  about  "Positive"  Viewfinder  for  my 

□  Eyemo  Model  DK,  DL-M,  DN-O,  DP-Q;  nFilmo70. 


My  Eyemo  Serial  No.  is 

My  Filmo  Serial  No.  is □  Send  in- 
formation on  other  modernizations  for  my  particular 
camera. 


Name .  . 
Address . 


International  Photographer  for  April,  1941 


19 


l6MM.  dcpARTMEIMT 


Some  Additional  Notes  on 
Kodachrome 

In  our  article  last  month  on  Kodachrome, 
appearing  in  these  pages,  we  purposely 
avoided  the  discussion  of  filters  for  use 
with  this  medium,  deciding  to  treat  this 
in  an  article  by  itself.  Filters,  used  with 
Kodachrome,  have  the  ability  of  not  only 
adapting  the  exterior-balanced  emulsion  for 
interior  work,  and  vice  versa,  but  also  that 
of  taking  a  variety  of  different  color-tem- 
peratures of  light  and  giving  a  final  result 
of  color  balance  and  tone  that  is  as  con- 
sistent throughout  scene  after  scene  as 
though  they  had  been  photographed  under 
one  correct  lighting  condition. 

The  two  devices  necessary  are  a  color 
temperature  meter,  and  a  set  of  color  com- 
pensating filters  that  Eastman  puts  out. 
The  meter,  if  carefully  used  and  corrected 
for  the  color  sensitivity  of  the  eyes  of  each 
individual,  will  accurately  measure  the 
temperature  in  degrees  Kelvin.  This  busi- 
ness of  color  temperature  might  sound  like 
a  complicated  affair  to  many  amateurs;  all 
that  it  is,  is  a  "yardstick"  placed  against 
a  color  chart  to  give  a  definite  number  to 
that  particular  color  so  that  we  may  dupli- 
cate the  exact  color  of  a  given  number. 
The  need  for  this  sort  of  system  for  pur- 
poses of  correction  will  become  apparent 
when  we  examine  the  delicate  color  sen- 
sitivity of  the  modern  Kodachrome  emul- 
sion. Couple  this  with  another  fact:  Most 
of  us  have  noticed  how  with  ordinary  elec- 
tric light  bulbs  one  of  them  may  seem  par- 
ticularly yellow,  or  another  rather  white  in 
light.  This  has  nothing  to  do  with  the 
amount  of  light,  because  an  automobile 
headlight  having  only  a  candlepower  of 
32  or  so  may  be  considerably  whiter  than 
a  house  light  of  several  hundred  candle- 
power.  This  difference  in  color — or,  spe- 
cifically, color  temperature  —  will  photo- 
graph correspondingly. 

The  emulsion  balanced  for  artificial  il- 
lumination (Type  B)  is  balanced  for  photo- 
floods.  Photofloods  have  a  measurable  col- 
or temperature  of  around  3400  degrees 
Kelvin,  depending  on  the  voltage  of  the 
line,  since  the  color  temperature  of  a  pho- 
toflood  will  vary  roughly  about  five  de- 
grees per  volt.    (The  term  "Kelvin"  is  used 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and   Black  and  White  Printers,  Re- 
winds. 
Special    Machinery    built    to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Ai).lre«»:     "CINEBARSAM" 

20 


in  the  same  sense  as  Fahrenheit,  or  Centi- 
grade, Kelvin  being  the  scale  which  has 
for  its  zero  point  "absolute  zero,"  that 
point  at  which  all  molecular  activity 
ceases. )  The  color  temperature  of  a  stan- 
dard mazda  will  run  from  2800  degrees  to 
3250  degrees,  latter  being  intended  for 
color  photography.  The  color  temperature 
of  the  light  encountered  on  exteriors  will 
be  in  the  neighborhood  of  5,000  degrees  K. 
And  since  the  Type  B  is  balanced  for  3,400, 
as  noted  above,  it  is  evident  that  the  wide 
variety  of  illumination  that  is  apt  to  be 
encountered  in  the  course  of  work  with 
this  medium  will  result  in  serious  incon- 
sistencies in  the  finished  film  unless  some 
means  are  used  to  equalize  these  condi- 
tions. 

The  color  compensating  filters  mentioned 
above  are  intended  to  do  this.  Where  the 
light  is  too  blue  they  will  hold  back 
enough  of  the  blue  so  that  the  temperature 
of  the  light  reaching  the  film  is  3,400  de- 
grees. Where  it  is  too  yellow,  the  filter 
will  hold  back  enough  of  the  yellow  so 
that  the  temperature  reaching  the  film  is 
the  same.  It  would  be  more  nearly  correct 
to  say  that  the  response  of  the  colors  in  the 
scene  would  be  the  same  as  though  light  of 
3400  degrees  K.  were  falling  upon  it.  Re- 
gardless of  what  the  temperature  of  the 
encountered  light,  within  the  scope  of 
these  filters,  properly  used,  they  will  hold 
back  that  color  in  just  the  right  amount  to 
give  the  effect  of  raising  the  temperature, 
or  dropping  it.  to  the  standard  figure  which 
will  give  perfect  color  reproduction. 

The  expedient  by  which  this  is  accom- 
plished is  simplicity  itself,  once  the  ama- 
teur has  had  sufficient  practice  with  the 
color  temperature  meter  to  assure  himself 
that  he  is  getting  the  correct  readings.  In 
this  meter,  there  are  two  semi-circles  which, 
when  combined,  form  a  complete  circle. 
One  semi-circle  has  a  fixed  color;  the  other 
one  is  variable,  by  means  of  a  knob  on  the 
outside  of  the  instrument,  which  is  at- 
tached to  a  pointer  on  a  scale.  Looking 
into  the  eyepiece,  with  the  meter  directed 
at  the  source  of  the  light,  this  knob  is  ro- 
tated until  the  semi-circle  with  the  variable 
tone  matches  the  semi-circle  with  the  fixed 
tone.  At  this  point  a  reading  is  taken, 
directly  in  degrees  Kelvin — the  color  tem- 
perature of  the  light  measured.  When  the 
readings  obtained  show  3,400  degrees  the 
j-cene  can  be  photographed  without  any 
compensation.  If  the  readings  obtained  are 
below  this  figure,  then  the  compensation 
filter  will  be  one  of  the  blue  shades.  Pick- 
ing out  the  lightest,  this  filter  is  placed  di- 
rectly in  front  of  the  aperture  admitting  the 
source  light,  and  the  knob  rotated  in  the 
usual  fashion  until  a  match  is  obtained  in 
the  semi-circles.  Again  the  reading  is 
taken.  It  will  be  found  that  this  reading 
will  have  a  higher  value.  If,  however,  it 
does    not    reach    the    3,400   mark,    the    next 


deeper  shade  is  measured,  and  this  process 
continued  until  the  filter  chosen  brings  the 
reading  to  exactly  the  equivalent  of  photo- 
flood  illumination.  The  filter  found  to  give 
this  correct  reading  is  the  filter  used  on 
the  camera.  Should  the  original  readings 
without  the  filters  go  above  3,400  degrees, 
then  one  of  the  yellow  filters  will  be 
necessary,  and  the  procedure  will  be  the 
same,  except  that  the  readings  will  be- 
come less  and  less  until  the  point  of  photo- 
flood  equivalent  is  reached. 

In  using  this  equipment  a  few  points 
should  be  remembered.  Every  person  has 
a  somewhat  different  eye-response  to  color, 
so  the  meter  must  be  corrected  against  a 
standard  candle  for  each  individual.  Also, 
the  match,  in  order  to  have  any  practical 
value,  must  be  extremely  accurate,  and  the 
eye  is  prone  to  tell  us  that  they  do  match, 
when  actually  they  are  slightly  off.  For 
this  reason,  as  in  the  case  with  all  scientific 
instruments  where  the  possibility  of  human 
error  is  present,  it  is  necessary  to  take  sev- 
eral— sometimes  as  many  as  ten — readings, 
and  these  readings  averaged  up.  The  prob- 
lem of  physical  fatigue,  and  eye  fatigue,  is 
a  considerable  one,  and  must  be  reckoned 
with. 

Once  these  processes  are  mastered  and 
the  readings  held  to  the  optimum  point,  a 
consistency  in  fidelity  of  color  reproduc- 
tion will  result.  The  problem  then  resolves 
itself  into  one  of  keeping  the  scene  illumi- 
nated by  sources  whose  individual  color 
temperatures  are  the  same.  Generally  this 
is  fairly  easy  if  the  bulbs  are  of  the  same 
type,  are  of  similar  age,  and  are  operating 
from  the  same  line  source.  If  a  change  of 
voltage  has  occurred  it  will  be  the  same 
for  all  the  lamps,  and  an  overall  correc- 
tion at  the  camera  with  the  filters  will  take 
care  of  the  situation.  Only  unwanted  day- 
light will  then  give  a  distorted  rendition. 

Agfa  Improved  Indiatone  Paper 

9  The  warm-toned  Indiatone  paper  which  has 
been  widely  employed  for  both  projection  and 
contact  printing  is  now  being  supplied  by  Agfa 
Ansco  in  a  new.  improved  type.  In  addition  to 
being  richer  in  tone  and  easier  to  handle  than 
that  previously  supplied,  the  new  Indiatone  dis- 
plays excellent  stability  and  latitude  characteris- 
tics and  is  marked  by  an  improved  gradation  that 
exhibits  softer  highlight  detail  without  sacrifice 
of  shadow  brilliance. 

New  Wabash  Bulletin 

#  Camera  fans  who  want  the  latest  data  on  flash, 
flood  and  color  photography  may  secure  a  copy 
of  the  new  Wabash  Exposure  Bulletin,  Form 
732P,  just  off  the  press.  This  bulletin  lists  all 
popular  films  with  complete  exposure  tables  for 
their  use  in  flash  and  flood  photography  with 
between-the-lens  shutters,  as  .well  as  focal  plane 
shutters  from  the  minicamera  size  to  the  largest 
4x5-inch  Speed  Graphic  size.  A  special  page  i- 
devoted  to  color  photography  with  the  latest  ex- 
posure data  tables  available  for  both  indoor  and 
outdoor  use  with  flash  and  flood.  Readers  of 
International  Photographer  may  secure  a  copy 
from  Wabash   Photolamp  Corp.,  Brooklyn,  N.  Y. 

Orr  and  Nan  Wvnn  in  New  Short 

•  The  first  of  "Warner  Bros.'  1941-42 
shorts  schedule  to  go  into  production  will 
be  "Those  Good  Old  Days,"  co-featuring 
William  T.  Orr  and  Nan  Wynn.  Jean 
INegulesco  will  direct  the  two-reeler. 


PBTfflTS 


By  ROBERT  W.  FULWIDER 
Patent  Attorney,  Los  Angeles 


No.  2,230,570— Reflex  Scanner.  Edward 
P.  Kennedy,  assignor  to  Motiograph  Inc., 
Chicago,   111.    Appln.   March    19.    1938. 
8  claims. 
A    projector    having    a    film    compliance 
drum  which  directly  engages  the  film  be- 
tween the  supply  and  take  up  sprocket,  and 
which  is  driven  at  synchronous  speed  with 
the  sprockets. 

No.     2,230,590 — Color     Photographic 
Process.  John  Eggert  and  Gerd  Heymer. 
Germany,  assignors  to  General   Aniline 
&  Film  Corp.   Appln.  Dec.  30,  1938.    In 
Germany  Jan.  22,  1938.    1  claim. 
A  method  of  making  colored  photographic 
prints  by  exposing  a  special  multi-emulsion 
negative,  and  then  copying  it,  layer  by  lay- 
er,   on   a   special    multi-emulsion    printing 
material. 

No.    2,230,938  —  Method   of   Obtaining 
Color     Photographs.      Anne     Henri 
Jacques    de    Lassws   Saint    Genies,    Ver- 
sailles,  France.    Appln.   Dec.   29,   1936. 
In  France  Jan.  4,  1936.   2  claims. 
A  method  of  obtaining  colored  photographs 
by  exposing  a  lenticular  negative  and  then 
chemically  treating  the  film  so  that  toning 
corresponding  to  that  desired   in  the  par- 
ticular monochrome  element  is  obtained. 
No.  2,230,977— Single  Solution  Photo- 
craphic  Developing  and  Fixing  Bath. 
Garnet  Philip  Ham,  assignor  to  Ameri- 
can Cyanamid  Co.,   New  York.    Appln. 
April  4,  1940.  9  claims. 
A  single  solution  silver  halide  developing 
and  fixing  bath  comprising  a  silver  halide 
developing  mixture,  an  amino  benzoate  and 
a  silver  halide  fixing  agent. 
No.    2,231,378  — Motion    Printing    Ma- 
chine.   Herbert  Becker,  Werner  Bender 
and  Walter  Stroble,  Germany,  assignors 
to  Kislyn  Corp.,  New  York.   Appln.  Aug. 
6,  1938.    In  Germany  Aug.  11,  1937.    3 
claims. 
A  printer  in  which  an  image  of  the  original 
film  is  focussed  on  the  copy  film  by  a  con- 
cave mirror. 

No.  2,231,383  —  Film  Splicer  and  Re- 
winder.  Jacob  M.  Goldberg,  Denver. 
Colo.  Appln.  Sept.  12,  1938.  13  claims. 
A  film  splicer  having  a  clamp  for  holding 
the  film  and  a  motor-driven  rotary  cleaner 
slidable  across  the  film  to  clean  its  upper 
surface. 

No.  2,231,384  —  Film  Rewinding  Ma- 
chine. Jacob  M.  Goldberg.  Denver,  Colo. 
Appln.  Feb.  27,  1940.  13  claims. 
A  film  rewinder  having  a  motor-driven  fric- 
tion disc  which  is  contacted  by  a  friction 
pinion  at  right  angles  to  it  and  may  be 
moved    from    the    center    to    the    edge   to 


change  the  speed  of  the  rewinding. 
No.  2,231,548  —  Method  of  Projecting 
Pictures.    Gerald  F.   Rackett,   assignor 
to    Technicolor    Motion    Picture    Corp. 
Appln  Sept.  20,  1939.  6  claims. 
A  method  of  correcting  films  for  use  in  a 
projector  which  forms  a  bright  spot  on  the 
screen,  consisting  of  making  a  positive  of 
the  projector-illuminated  screen  and  print- 
ing the  positive  and  the  usual  image-carry- 
ing negative  on  a  single  corrected  positive. 
No.    2,231,663  —  Neutral    Gray    Sound 
Track.    Ralph  M.  Evans  and  Wesley  T. 
Hanson,  Jr.,  assignors  to  Eastman  Kodak 
Co.   Appln.  May  6,  1938.  6  claims. 
The  method  of  forming  a  sound  track  in 
photographic  film  which  comprises  devel- 
oping the  sound  track  in  a  coupler  develop- 
er  containing   a    p-benzyl    phenol    coupler 
and    an    aromatic   amino   developing   com- 
pound. 

No.  2,231,665  —  Loop  Forming  Member 
for  Sprocketless  Film  Handling  Ap- 
paratus.   Henry  N.  Fairbanks,  assignor 
to  Eastman  Kodak  Co.    Appln.  July  22. 
1938.   7  claims. 
A  sprocketless  camera  or  projector  having 
a  pair  of  posts,  each  adjacent  the  end  of 
the  pressure  plate,  and  located  so  that  the 
natural  resilience  of  the  film  forms  loops. 
No.   2,232,056  —  Production    of    Color 
Film   Having  a  Silver  Sound  Track. 
John  Eggert  and  Hans  Friedrich  Nissen. 
Germany,  assignors  to  General  Aniline  & 
Film   Corp.    Appln.   Nov.   26,   1937.    In 
Germany  Dec.  2,  1936.   7  claims. 
A    method    of    producing    a    silver    sound 
track  image  on  multi-emulsion  color   film 
by    exposing    and    converting    one    of    the 
emulsions  to  a  color  and  silver  image,  con- 
verting the  silver  to  a  different  silver  ha- 
lide, and  then  re-exposing  and  developing 
the    silver    bromide    sound    track    and    re- 
moving the  silver  halide. 
No.     2,232,144  — Method    for    Making 
Composite  Motion  Pictures.  Ferdinand 
Method    Sersen.    asignor    to    Twentieth 
Century-Fox    Film    Corp.    Appln.    Nov. 
12,  1938.   6  claims. 
A  method  of  making  composite  pictures  bv 
taking  a   foreground   negative,   making   an 
enlarged     negative     of    it     and     manually 
opaquing  the  part  to  be  seen  in  the  final 
picture  and  bleaching  the  background,  and 
then  using  this  as  master  mask  for  both  the 
foreground  and  background  film. 
No.  2,232,774 — Method  of  Scanning  or 
Projecting     Motion     Pictures     and 
Other    Pictures.    Jacob   Z.   Deninson, 
New    York.     Appln.    Feb.    7,    1938.     3 


A  method  of  securing  stereoscopic  projec- 
tion with  a  single  film  having  a  single  row 
of  longitudinally  successive  and  equal 
frames  which  have  aligned  edges  and  which 
show  objects  in  different  relative  positions. 

Newsreel  Equipment  Stolen 

Dear  Mr.  Aller: 

Some  newsreel  equipment  has  been  stolen 
from  our  sound  car  here  in  Chicago.  I  am 
enclosing  herewith  a  complete  list  of  the 
items  lost  and  their  serial  numbers.  Would 
you  kindly  post  this  list  on  your  bulletin 
board,  and  also  would  like  to  have  it  pub- 
lished in  the  International  Photographer. 
The  insurance  company  is  offering  $250.00 
reward  for  its  return.  Because  of  the 
nature  of  the  merchandise,  it  would  be 
very  difficult  to  dispose  of  this  stuff  except 
among  professional  operators.  Any  co- 
operation you  give  will  be  greatly  appre- 
ciated. 

Sincerely   yours, 
Jack  Lieb, 

Midwest  Bureau  Mgr. 

News  of  the  Day. 

1.  Case  containing  Audio  Akeley  Cam- 
era No.  G125,  and  focusing  tube  for  same. 

2.  Brown  leather  case  containing  Bell  & 
Howell  Eyemo  Camera  No.  4423,  with 
Hugo  Meyer  Lens,  F1.5,  No.  294616;  also 
six  1 6)   100-foot  lengths  of  Super  XX  film. 

3.  Utility  case  containing  changing  bag, 
two  (2)  800-foot  rolls  of  Super  XX  film; 
labels  for  shipping:  caption  sheets;  batter- 
ies, etc. 

If  all  or  part  of  the  stolen  equipment  is 
discovered  in  your  district,  please  notifv 
Mr.  Allen,  of  the  Commercial  Union  Assur- 
ance Co.,  Ltd.,  175  West  Jackson  Blvd., 
Chicago.  Illinois,  bv  wire  collect. 


Efficient  Courteous 

Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 


HOLLYWOOD 
Cable  Address: 


CALIFORNIA 
'CAMERAS" 


International  Photographer  for  April,  1941 


21 


TRADEW 


First  Accessories  Kodak  Ektra 

#  Six  accessory  items  for  the  new  35mm.  Kodak 
Ektra — including  a  special  flash  synchronizer, 
ground-glass  focusing  back,  view  finders  for  high, 
low,  and  right-angle  work,  a  close  range-and-view 
finder,  and  a  special  tripod  clearance  head — are 
anounced  by  the  Eastman  Kodak  Company,  Roch- 
ester. 

The  accessory  Close  Range  and  View  Finder 
is  intended  for  use  with  the  50mm.  Kodak  Ektar 
f/1.9  lens  at  distances  from  3VL>  feet  down  to 
IV2  feet;  and  with  the  addition  of  the  Kodak 
Portra  3+  supplementary  lens,  down  to  10% 
inches.  The  price  is  $40.  This  accessory  can 
also  be  obtained,  on  special  order,  with  a  spe- 
cially-calibrated focusing  dial  for  use  with  the 
50mm.  Kodak  Ektar  f/3.5  lens. 

The  High-Low  Angle  Finder  permits  the  Kodak 
Ektra  to  be  used  conveniently  from  waist-level 
when  used  on  a  tripod  or  other  firm  support,  as 
well  as  overhead — thus  greatly  extending  the 
user's  choice  of  viewpoint.  It  covers  the  field  of 
the  50mm.  lenses,  slips  into  the  universal  acces- 
sory bracket  on  top  of  the  Ektra,  and  will  retail 
at  $15. 

The  Right-Angle  Finder  for  the  Kodak  Ektra 
is  of  particular  use  in  obtaining  unposed  shots, 
as  well  as  for  shooting  in  cramped  quarters  where 
it  is  inconvenient  to  face  the  subject.  Its  price 
is  $10. 

The  Ground  Glass  Focusing  Back  for  the 
Ektra  possesses  several  interesting  design  fea- 
tures, which  fit  it  both  for  accurate  and  studied 
composition  of  general  scenes,  and  for  extremely 
critical  focusing  on  close-up  subjects — such  as 
table-top  scenes,  medical  specimens,  and  line  or 
tone  copy.    The  price  is  $25. 

The  Ektra  Flash  Synchronizer  attaches  to  the 
top  of  the  camera  by  means  of  the  Ektra's  ac- 
cessory clip,  and  the  tripper  unit  is  simply 
screwed  into  the  cable  release  opening  of  the 
camera.    The  price  is  $17.50. 

The  Kodak  Tripod  Clearance  Head  for  the 
Ektra  is  a  compact,  inexpensive  unit  which  raises 
the  camera  a  short  distance  above  the  tripod 
head.  This  allows  the  hinged  cover  of  the  Maga- 
zine Back  to  be  opened  for  loading  or  unloading, 
or  another  Magazine  Back  to  be  substituted, 
without  removing  the  camera  from  the  tripod. 
The  price  of  this  unit  is  $1.25. 

Agfa  Ansco  Adopts  68 
Temperature  Standard 

#  After  lengthy  study  of  all  factors  involved,  a 
new  temperature  standard  has  been  adopted  by 
Agfa  Ansco,  specifying  a  value  of  68°  Fahren- 
heit (20°  Centigrade)  for  the  development  of 
Agfa  films  and  papers.  Recommendations  have 
formerly  called  for  a  developing  temperature  of 
65°    F.  with   films,  70°    F.  with  papers. 

Chief  among  the  reasons  for  establishing  t  he 
new  temperature  standard  has  been  the  desire  to 
simplify  existing  separate  recommendations  on 
film  and  paper  development  which  have  in  the 
past  been  a  source  of  some  confusion.  Related 
to  this  condition  has  also  been  the  realization 
that  developing  solutions  can  usually  be  main- 
tained more  easih    al   68°  than  65°. 

It  is  expected  that  photographers  using  Agfa 
materials  will  experience  little  <>r  no  difficulty 
in  changing  over  to  the  new  standard  and  main- 
taining uniform  quality  in  their  results.  Current 
issues  of  instruction  --heels  and  booklets  for  Agfa 
photographic  materials  will  obviously  not  be  in 
agreement  with  the  new  temperature  standard, 
hut  this  situation  will  be  corrected  as  new  edi- 
tions are  printed  incorporating  the  68°  F.  tem- 
perature standard. 


New  G.E.  Photoflash  No.  50 

G.  E.    'Speed  Midget" 

9  Development  of  a  new  and  revolutionaiy 
photoflash  lamp  producing  a  flash  so  brief  as  to 
freeze  moderate  motion  and  so  fast  as  to  greatly 
simplify  synchronization  was  announced  by  Gen- 
eral Electric's  lamp  department  at  Nela  Park.  It 
is  called  the  G-E  Mazda  Speed  Midget  Photo- 
flash Lamp  SM. 

Although  the  SM  has  the  same  shape  and  size 
as  that  of  the  popular  G-E  mighty  midget  No.  5 
flash  lamp,  it  comes  to  peak  of  flash  in  l/200th 
of  a  second.  In  other  words,  the  flash  of  the 
new  "speed  midget"  lamp  reaches  its  peak  four 
times  faster  than  does  the  flash  from  the  No.  5 
or  the  flash  of  any  other  G-E  synchro-press  lamp. 

The  new  source  produces  only  about  one-fourth 
as  much  light  as  does  the  G-E  No.  5  midget  bulb. 
Nevertheless,  the  SM's  flash  has  been  found  to 
be  ample  when  used  with  the  improved  films 
now  available.  Thus  the  SM  fits  into  the  trend 
toward  ever-faster  film  speeds,  better  lenses,  and 
smaller   equipments. 

Human  and  animal  subjects  photographed  by 
the  new  speed  midget  seem  to  be  less  aware  of 
its  mild  flash  of  short  duration  than  they  are  of 
flashes   produced   by   other   photolamps. 

Unlike  other  types  of  photoflash  lamps,  the 
G-E  SM  lamp  employs  no  aluminum  leaf,  free 
wire,  or  shredded  foil  within  its  bulb.  Instead, 
a  small  amount  of  chemical  paste  applied  to  the 
ends  of  the  lead-in  wires  (in  an  atmosphere  of 
oxygen)  produces  the  SM's  rapid  flash.  List 
price  13  cents. 

Beattie  Hollywood  Hi-Lite 
New  Catalog  Ready 

A  new  catalogue  of  magazine  type  is  now  com- 
ing off  the  press  for  Beattie's  Hollywood  Hi-Lite 
Co.,  manufacturers  of  fluorescent  and  incande- 
scent lighting  equipment  for  photographic  studios. 
The  publication  is  said  to  include  reproductions 
ill  the  liner  work  of  some  of  the  nation's  leading 
Mill  photographers,  illustrations  and  methods  for 
obtaining  dramatic  lighting  effects,  as  well  as  a 
complete  and  informative  description  of  the  new 
models  brought   out  this  year  by  this  firm. 

Copies  are  free  on  request  to  readers  of  Inter- 
national Photographer  at  the  main  offices  at 


1560  North  Vine  Street,  while  a  Beattie  equipped 
studio  is  open  for  the  inspection  of  both  profes- 
sionals and  amateurs. 

Kodachrome  Processing  Now 
Possible  at  Three  Places 

•  Kodachrome  Film  in  the  35mm.  and  Bantam 
sizes  can  now  be  processed  at  laboratories  in 
Rochester,  Chicago,  and  Hollywood,  and  should 
be  sent  to  the  nearest  one,  the  Eastman  Kodak 
Company  announces.     The  addresses  are: 

Eastman  Kodak  Company,  1017  N.  Las  Palmas 
Avenue,  Hollywood,  California;  Eastman  Kodak 
Company,  1712  Prairie  Avenue,  Chicago,  Illinois; 
Eastman  Kodak  Company,  Rochester,  New  York. 

New  Address  Landers  Camera  Rentals 

•  Landers  Camera  Rentals  has  moved  and  is 
now  located  at  6373  DeLongpre  Avenue,  near 
Ivar  Street,  Hollywood.  This  is  only  a  few  blocks 
from  the  old  location  and  the  phone  number  re- 
mains the  same.  Sam  feels  that  his  customers  and 
friends  will  find  it  easier  to  park  their  cars  near 
the  new   DeLongpre  address. 

Powerful  New  G.  E.  Photoflash 

•  A  new  powerful  photoflash  lamp — designed  es- 
pecially for  the  taking  of  color  photos  and  news 
pictures  of  scenes  covering  considerable  area — 
has  just  been  announced  by  General  Electric's 
lamp  department  at  Nela  Park,  Cleveland. 

Designated  as  G-E  Mazda  Photoflash  Lamp  No. 
50,  the  new  source  is  rated  at  100,000-120,000 
lumen-seconds  of  light  output.  Its  peak  lumens 
are  given  as  5.5  millions.  Light  output  of  this 
new  lamp,  therefore,  is  double  that  of  the  famil- 
iar G-E  Mazda  Synchro-Press  Lamp  No.  21,  is 
two-thirds  that  of  G.  E.'s  huge  No.  75  foil-filled 
photoflash  lamp. 

That  so  much  light  can  be  generated  by  a 
flashbulb  not  much  larger  than  the  No.  21  lamp 
is  attributed  chiefly  to  the  shredded  foil  with 
which  the  new  No.  50  is  filled.  The  No.  50 
comes  in  an  A21  bulb,  has  a  maximum  over-all 
length  of  5%  inches,  and  is  equipped  with  a 
medium  screw  base. 

The  G.  E.  No.  50  comes  to  peak  of  flash  in 
.03  seconds.    It  has  a  list  price  of  22  cents. 

New  Agfa  Film  for 
Fluorescent  Screens 

•  Agfa  Ansco  announces  a  new  film  known  as 
Fluorapid,  which  is  ideally  suited  to  the  direct 
photography  of  fluorescent  screens.  It  is  available 
in  various  lengths  of  perforated  35  mm  film 
stock.  Further  information  may  be  obtained  by 
writing  Medical  Film  Division,  Agfa  Ansco,  Bing- 
hamton.  New  York. 

Agfa  Minipan  and  Minipositive  Films 

•  Photographers  and  documentary  technicians 
engaged  in  microcopying  will  be  interested  in  two 
current  developments  affecting  Agfa  films  used 
in  their  work.  The  films  involved  are  Minipan 
and   Minipositive. 

Agfa  Minipan  film,  the  new  and  yet  already 
popular  film  of  high  resolving  power  for  micro- 
copying,  is  now  supplied  at  a  new,  lower  price. 
The  100-foot  darkroom-loading  and  daylight-load- 
ing 35mm.  spools  now  list  at   $5.25  each. 

Agfa  Minipositive,  a  new  film  with  an  emulsion 
having  special  characteristics  essential  for  micro- 
copying,  is  now  available  to  complement  the 
function  of  Agfa  Minipan.  The  standard  100-foot 
length,  perforated  or  imperforated,  darkroom- 
loading  spool  of  Minipositive  lists  at  $3.75.  For 
prices  on  other  sizes  and  additional  information 
address  Graphic  Film  Division,  Agfa  Ansco,  Bing- 
hamton,   New   York. 


22 


Process  Photography 

colli  lox, 

LIGHT  THAT  BLENDS  WITH  THE  SCREEN 


•  The  use  of  carbon  arc  foreground 
lighting  in  process  photography  insures 
perfect  blending  with  the  light  coming 
through  the  screen.  Modern  studio  art- 
lamps  supply  light  of  daylight  quality, 
the  same  as  the  bigh  intensity  arcs  used 
for  projecting  the  background  scene. 

Avoid  contrasts  in  light  quality  that 
destroy  the  perfect  illusion  sought  in 
process  photography. 


NATIONAL    CARBON    COMPANY,    INC. 

Unit  of  Union  Carbide  and  Carbon  Corporation 


Carbon  Sales  Division,   Cleveland,  Ohio 

GENERAL  OFFICES 
30  East  42nd  Street,  New  York,  N.  Y. 

BRANCH  SALES  OFFICES 
New  York,  Pittsburgh,  Chicago,  St.  Louis,  San  Francisco 


International  Photographer  for  April.  1941 


23 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TC  L  C  V 


No  truer  word  was  spoken  than  that  bro- 
mide of  the  screen,  "There's  Gold  in  Them 
Thar  Hills!"  and  a  direct  implication  to 
the  hills  of  Hollywood  and  their  immedi- 
ate hilltops,  which  today  are  swiftly  being 
converted  into  telecasting  tower  sights.  Al- 
ready has  the  Don  Lee  Broadcasting  Sys- 
tem completed  their  elaborate  three  story 
station,  W6XAO,  atop  of  Mount  Lee.  This 
physically  represents  the  first  of  several 
stations  to  follow  for  the  telecasting  of 
sight  and  sound  images  to  a  patiently 
awaiting  audience,  and  we  say  patiently, 
for  only  too  often  has  this  writer  or  that 
precocious  personality  predicted  that  "Tele- 
vision was  Just  Around  the  Corner!" 

Just  to  the  west  of  the  Don  Lee  site 
stands  another  two  thousand  feet  high  hill 
top  with  its  900  acres  adjoining,  which  has 
been  acquired  by  the  Howard  Hughes  or- 
ganization and  recently  surveyed  for  ex- 
tensive development  in  keeping  with  the 
announcement  that  the  Hughes'  interests 
had  acquired  a  telecast  license  and  had 
planned  to  immediately  invest  over  a  mil- 
lion dollars  in  experimental  research.  What 
comes  off  the  Hughes  draughting  board 
remains  to  be  seen,  but  from  past  perform- 
ance we  can  bet  that  it  will  be  nothing 
short  of  stupendous. 


By  DUSTER  EVANS 


Not  to  be  caught  napping,  some  enter- 
prising Hollywood  realtor  has  already  in- 
serted an  ad  in  the  local  paper  that  reads: 
"For  Sale:  Television  Enthusiast,  here  is 
an  opportunity  to  acquire  unexcelled  build- 
ing site  in  direct  line  with  Station  W6XAO. 
Phone  Hollywood  0000." 

Today,  television  has  arrived.  It  is  here, 
and  with  it  a  fellow  newcomer  to  the  scene. 
Frequency  Modulation,  that  staticless  com- 
panion, approved  by  the  Federal  Com- 
munications Commission  for  furnishing 
pure  tone  quality,  together  with  the  flick- 
erless  pictures.  And  that  constitutes  tele- 
vision as  approved  after  six  months  of 
deliberation:  after  the  "Go"  sign  was  given 
and  then  turned  off  officially.  The  recom- 
mended 441  lines  of  scanning  per  picture 
remains,  as  well  as  the  succession  of  30 
pictures  per  second.  Thus,  receivers  al- 
ready in  use  will  be  able  to  continue  in 
use  without  having  to  have  changes  made 
in  the  picture  transmission  circuits.  But. 
as  the  advent  of  FM  for  the  transmission  of 
the  sound  will  necessitate  revision  of  the 
receiver  sound  circuit,  then  Chairman  Flv 


Captain  William  L.  Prager  lecturing  on  Dimtoni  Cathode-ray  Tube, 


of  the  Federal  Communications  Commis- 
sion was  justified  in  holding  back  the  sale 
of  receiver  equipment  as  of  six  months 
ago,  which  would  have  required  revision  of 
construction  and  consequent  added  expense 
to  that  of  an  already  expensive  piece  of 
equipment.  Of  course,  this  will  have  to  be 
done  to  those  receivers  formerly  in  opera- 
tion with  Amplitude  Modulation. 

What  has  the  cameraman  done  to  pre- 
pare himself  to  take  his  place  within  the 
ranks  of  television  production?  It  is 
highly  enlightening  to  look  back  over  the 
pages  of  The  International  Photogra- 
pher, and  note  how  closely  the  editors 
have  followed  the  progress  of  television. 
Also  to  note  the  constant  reference  to  that 
most  important  position  of  tele-cameraman. 

Therefore,  we  quote  William  L.  Prager, 
as  of  February,  1935: 

"It  will  be  a  little  longer  before  the 
studio  cameraman  need  worry  about  his 
presently  secure  position.  But,  at  the  same 
time,  my  advice  to  him  is  to  be  prepared 
to  then  come  into  his  own,  for,  with  the 
coming  of  television — and  it  is  coming,  just 
as  sure  as  fate — the  cameraman  who  in  the 
past  has  often  shouldered  the  added  tasks 
of  radio  operator  and  even  navigator  on 
many  a  film  expedition,  must  now  be  men- 
tally equipped  to  meet  the  requirements 
for  the  taking  of  'film  transcriptions'  for 
television  broadcast  as  well  as  the  shooting 
of  'direct  pick-ups,'  otherwise  there  are  go- 
ing to  be  many  new  faces  seen  behind  the 
cameras  of  the  future." 

Six  short  years  have  come  and  gone,  and 
today  many  a  cameraman  has  taken  advan- 
tage of  an  opportunity  to  try  his  hand  at 
operating  one  of  the  television  cameras  at 
the  Don  Lee  Studio,  or  as  a  guest  of  an 
Eastern  station. 

As  we  go  to  press,  Television  stands 
ready  to  give  a  good  accounting  for  itself. 
Only  the  setting  of  a  date  as  to  when  tele- 
casters  may  sell  picture  programs  to  ad- 
vertisers remains.  The  National  Television 
Systems  Committee,  as  set  up  by  the  Radio 
Manufacturers  Association,  has  given  back 
to  the  FCC  and  the  industry  a  set  of  stan- 
dards that  they  could  not  but  accept. 

As  for  the  future,  let  us  lift  our  eyes  to 
the  mountains,  for  from  the  tops  of  these 
"hills,"  there  is  to  be  presented  to  America 
a  new  medium  of  entertainment,  only  lim- 
ited in  scope  by  the  actual  mechanical  ad- 
dition or  construction  of  television  image 
booster  stations,  accompanied  by  their  per- 
fected audible  companion,  Frequency 
Modulation,  which  will  in  much  resemble 
the  beacon  stations  of  the  airways  of  today 
from  ("oast  to  Coast. 


24 


Herman  a.  dg  vRy,  pioneer 


Herman  A.  DeVry,  founder  and  president 
of  the  DeVry  Corporation  of  Chicago,  is 
credited  with  being  one  of  the  real  pioneers 
in  the  Motion  Picture  Equipment  and  Elec- 
tronic field. 

One  of  his  activities  in  particular,  brings 
out  the  progressive  far-seeing  qualities  of 
the  man. 

For  some  time  past,  Mr.  DeVry  has  been 
impressed  by  a  situation  in  the  technical 
side  of  the  Electronic  business.  He  felt 
that  far  too  few  young  men  were  preparing 
themselves  for  skilled  work  in  this  field. 
He  was  aware  that  not  only  he,  but  also 
various  other  manufacturers  in  the  growing 
field  of  Electronics  must  have  trained  men 
to  manufacture,  install  and  service  equip- 
ment in  order  to  help  the  industry  as  a 
whole  prosper. 

It  was  this  situation  that  prompted  Mr. 
DeVry  to  sponsor  and  finance  a  modern 
training  program  for  preparing  young  men 
for  this  type  of  work.  Accordingly,  he  es- 
tablished DeForest's  Training,  Inc..  2533 
N.  Ashland  Ave.,  Chicago. 

This  industrial  training  organization  has 
a  practical  and  modern  training  laboratory 
set  up  for  this  purpose — and  just  recently 
a  new  plan  of  training  has  been  worked 
out  that  is  another  important  step  forward. 
The  methods  employed  are  thorough  and 
highly  effective.  They  are  based  upon  prac- 
tical facts  gained  while  actually  preparing 
voung  men  for  a  successful  career  in  this 
field. 

In  addition  to  the  use  of  loose-leaf  as- 
signments covering  the  necessary  theory,  a 
young  man  is  provided  with  visual  instruc- 
tion by  means  of  motion  pictures  in  his 
own  home.  He  is  also  loaned  a  series  of 
reels  of  film  which  contain  animated  dia- 
grams and  drawings.  This  feature  helps 
to  present  important  fundamentals  in  the 
training  in  a  way  that  is  far  more  interest- 
ing, more  easily  understood,  and  much  less 
likely  to  be  forgotten. 

But  theory  and  visual  training  make  up 
only  one  part  of  the  training  program.  For 
to  help  a  young  man  get  the  valuable  prac- 
tical experience  so  important  and  necessary 
today,  the  program  provides  for  actually 
setting  up  a  laboratory  in  the  home  of  the 
student,  so  that  he  can  make  his  own  ex- 
periments on  a  variety  of  electronic  equip- 
ment. Also,  the  student  has  at  his  disposal 
the  organization's  own  very  fine  laboratory 
in  Chicago.  Being  a  practical  man  him- 
self, Mr.  DeVry  has  thus  made  generous 
provisions  for  giving  young  men  an  im- 
portant practical  background. 

Naturally,  such  a  combination  of  benefits 
in  one  training  program  is  bound  to  bring 
significant  results.  There  are  undoubtedly 
a  large  number  of  young  men  in  this  coun- 
try who  would  greatly  desire  the  fine  op- 
portunity to  prepare  for  Electronics 
through  the  medium  of  an  organization  like 


By  DUSTER  EVANS 

DeForest's  Training.  But  Mr.  DeVry  in- 
sists that  only  the  proper  type  of  young 
man  should  have  this  opportunity  —  the 
young  man  who  seems  to  have  certain 
qualifications  that  should  tend  to  make  him 


successful  in  preparing  for  and  making  a 
start  in  this  work. 

DeForest's  Training  today  is  a  tribute 
indeed  to  the  far-sighted  thinking  and  pio- 
neering that  has  made  Herman  A.  DeVry 
a  leader  in  the  field  of  Electronic  Equip- 
ment and  education,  for  so  long  a  period 
of  time. 

Those  wishing  to  enter  this  field  may 
secure  information  by  addressing  the 
author,  care  of  International  Photographer. 


The  Don  Lee  Television  Station,  W6XAO,  with  the  highest  television  antenna   in  the 

world.     Two    thousand    feet   above    sea    level,    seven    hundred    feet    above    that    of    the 

Empire  State  Building  in  New  York  City.  (Photo  by  Al  ISimigean.) 


SMPE  Spring  Convention 

•  New  scientific  advances  which  have  or 
will  shortly  benefit  the  movie  goer  in  every 
part  of  the  world  will  be  presented  and 
discussed  at  the  1941  Spring  Convention 
of  the  Society  of  Motion  Picture  Engineers, 
scheduled  for  May  5  to  8,  inclusive,  at 
the  Sagamore  otel,  Rochester,  N.  Y.  Em- 
ory Huse.  recently  elected  president,  will 
preside. 


International  Photographer  for  April.  1941 


An  important  feature  new  to  this  con- 
clave is  a  day-long  joint  session  with  the 
Acoustical  Society  of  America,  during 
which  a  symposium  of  papers  by  engineers 
of  the  Bell  Telephone  Laboratories  will  be 
presented  at  the  morning  and  afternoon 
sessions.  In  the  evening  the  two  groups 
will  witness  a  demonstration  of  stereopho- 
nic sound  by  the  Bell  Telephone  Labora- 
tories at  the  Eastman  Theatre. 

25 


phOTO  MEChANJCS 


By  Robert  M.  Parker, 

Instructor  of  Photography,  Frank  Wiggins  Trade  School. 


America  is  known  as  a  nation  producing 
volume.  In  the  "roaring  twenties,"  the  ver- 
satile man  did  not  necessarily  enjoy  many 
advantages.  Men  were  trained  for  a  spe- 
cific operation  and  in  the  performance  of 
that  operation  they  became  remarkably 
adept.  A  man  employed,  for  instance,  in 
a  large  automobile  plant,  learned  to  per- 
form his  single  duty  with  such  speed  and 
ability  that  he  himself  was  like  a  smoothly 


functioning  cog  in  a  vast  machine,  pro- 
ducing machines.  He  did  ONE  thing  and 
he  did  it  well. 

What  he  did  not  realize  was  the  fact 
that  it  was  not  enough.  His  single  skill 
did  not  safeguard  his  future.  It  was  fine 
while  it  lasted,  but  when  the  depression 
came  it  left  many  such  men  on  an  island. 
They  became  the  great  army  of  the  unem- 
ployed and  the  lesson  of  over-specialization 


became  the  lesson  for  an  oncoming  genera- 
tion to  heed. 

The  Frank  Wiggins  Trade  School,  a  free 
public  school,  conducted  by  the  Los  An- 
geles City  Board  of  Education,  is  an  out- 
standing example  of  how  an  educational  in- 
stitution can  be  made  a  cooperative  enter- 
prise and  be  integrated  with  the  social  and 
industrial  life  of  the  community. 

The  principal  of  this  unique  institution 


26 


(1)  Student  sighting  through  rang*-  finder.  This  young  photographer  knows  not1 
only  how  to  use  his  camera;  he  knows  how  it  works.  (2)  Interior  of  Kalart 
workshop  in  Hollywood,  the  facilities  of  which  are  available  to  students  at  Frank 
Wiggins   Trade    School.     (3)    The   school.     (4)    Students   working   out    a    problem. 


is  Leslie  G.  Stier,  its  vice  principal  in 
charge  of  women's  trades  is  Miss  Estella 
L.  Churchill. 

The  school's  curriculum  includes  a 
course  in  photography  which  is  recognized 
as  outstanding  in  California.  The  objec- 
tive of  this  school  is  to  prepare  people  for 
skilled  occupation  and  at  the  present  time 
it  is  serving  3,400  individuals  in  fifty-five 
different  occupations,  comprising  some  203 
employment  levels. 

In  the  photographic  field,  in  particular, 
the  lesson  of  specialization  will  mean  that 
our  young  photographers  must  be  trained 
in  self  reliance  and  an  understanding  of 
the  scope  of  photography,  as  well  as  in 
the  skills  that  supplement  it,  in  order  to 
contribute  to  its  successful  performance. 

For  photography  is  a  strange  admixture 
of  artistry  and  ingenuity.  The  part  referred 
to  as  ingenuity  covers  a  remarkably  large 
territory,  from  the  building  of  sets  and 
backgrounds  to  the  adjustment  and  repair 
of  mechanical  devices. 

To  the  uninitiated  this  is  surprising.  For 
instance,  at  Frank  Wiggins  Trade  School, 
we  find  that  most  applicants  for  a  photo- 
graphic course  are  puzzled  when  asked  if 
they  have  a  knowledge  of  the  following: 
Woodwork,  machine  shop  practice,  sheet 
metal  work,  bookkeeping,  business  manage- 
ment. They  can  understand  the  questions 
concerning  art,  chemistry,  camera  opera- 
tion and  processing;  but  where,  they  ask. 
will  they  be  using  machine  shop  practice 
as  well  as  work  in  wood  and  metal. 

The  commercial  photographer,  however, 
is  well  aware  of  the  advantages  of  possess- 
ing such  skills,  for  there  are  many  occa- 
sions which  require  the  fashioning  of  sets 
and  backgrounds,  or  the  adjustment,  re- 
pair, and  even  the  construction  of  various 
mechanical  devices.  If  he  is  an  expert  and 
experienced  man,  he  realizes  the  impor- 
tance of  keeping  things  in  working  order. 
When  a  job  is  promised  it  must  be  deliv- 
ered on  time,  and  the  photographer  may 
be  forced  to  use  his  ingenuity  to  overcome 
unexpected  obstacles. 

The  present  day  photographer  often 
finds  it  necessary  to  repair  his  own  camera 
and  shutter  and  since  other  new  devices 
have  become  aids  to  his  work,  there,  too, 
in  this  close  contact  with  the  tools  of  his 
trade  a  man  acquires  a  respect  for  his 
material  and  equipment,  sort  of  reverence 
if  you  like,  for  the  finely  balanced,  deli- 
cately precise  mechanisms  with  which  he 
deals.  He  knows  what  he  can  do  with  his 
equipment,  and  he  knows  how  he  can  do  it. 

It  is  our  problem,  then,  to  supplement 
the  training  of  students  in  our  photogra- 
phic classes  with  as  much  experience  in 
photo  mechanics  as  is  feasible.  The  young 
man  of  today,  living  as  he  does  in  a  world 
of  machines,  has  a  certain  natural  curiosity 
concerning  them,  but  insufficient  opportun- 
ity for  close  acquaintances,  especially  in 
the  field  of  fine  mechanics.  In  meeting  this 
situation  and  supplying  a  need  that  daily 
grows  more  acute  in  the  present  day  crisis 
in  world  affairs,  the  Frank  Wiggins  Trade 


School  has  played  an  important  role  and 
offers  a  wide  variety  of  courses  both  ex- 
tensive and  intensive  and  designed  to  train 
as  many  students  as  possible  in  various 
fields. 

In  the  field  of  Photo  Mechanics  the 
Frank  Wiggins  Photographic  class  has  been 
particularly  fortunate  in  obtaining  great 
cooperation  from  the  Kalart  Company  of 
New  York  and  Hollywood.  Miss  Dubin 
and  Mr.  Weston  of  the  Hollywood  branch 
have  made  it  possible  for  the  students  to 
round  out  their  course  of  training  in  Photo 
Mechanics.  The  instruction  is  given  by 
Mr.  Weston  and  the  students  report  to  his 
laboratory  in  Hollywood,  where  they  are 
given  a  thorough  training  in  assembly,  in- 
stallation, adjustment  and  repairing  of 
range  finders  and  flash  synchronizers.  Miss 
Dubin  keeps  a  record  of  the  progress  of 
each  student  and  recommendation  is  made 
in  respect  to  the  future  of  each. 

In  some  cases  it  has  been  found  that 
the  student  develops  an  exceptional  apti- 
tude for  this  work  and  if  he  desires  to  fol- 
low it  for  a  vocation,  a  place  in  the  indus- 
try usually  is  found  for  him.  Those  others 
who  do  not  follow  Photo  Mechanics  as  a 
vocation  discover  that  their  experience 
helps  them  to  keep  their  equipment  in  good 
condition. 

"Dive  Bomber"  Troupe 
Working  at  Naval  Base 

•  Headed  by  Errol  Flynn  and  Fred  Mac- 
Murray,  a  company  of  150  actors  and 
technicians  from  Warner  Bros,  studio  has 
left  here  for  an  extended  stay  at  the  U.  S. 
Naval  Base  at  San  Diego,  where  many 
scenes  of  the  Technicolor  special,  "Dive 
Bomber,"  will  be  filmed. 

Capt.  J.  M.  Popham  and  Commander 
Seth  Warren  have  been  assigned  by  the 
Navy  Department  to  advise  Michael  Curtiz, 
director  of  the  picture,  on  all  matters  of 
naval  and  aviation  technique  and  pro- 
cedure in  connection  with  production  of 
the  film. 


Beattie  Lites 

For  Dramatic  Effect 

From  the  great  new  Beattie  line  for  1941, 
you  may  select  a  lighting  system  exactly 
right  for  every  type  of  still  photography. 
Fluorescent  and  incandescent  floodlites  in 
main  source  and  auxiliaries,  the  now  fa- 
mous Boom-Lite,  spots  in  several  sizes.  All 
backed  by  an  experience  of  twenty-three 
years  in  design  of  lighting  apparatus 
expressly  for  the  still  photographer.  See 
these  great  lamps  in  our  demonstration 
studio.  See  how  quality  as  well  as  appli- 
cation may  be  varied  to  suit  subject  and 
style.  See  how  they  do  "what  the  photog- 
rapher wants  them  to  do". 

NEW  CATALOG  ...  now  coming  off  the 
press,  magazine-type  catalog  packed  with 
information  for  the  professional  and  top- 
flight amateur.  Call,  write  or  phone  foi 
free  copy  today. 


Subject:   Lois  Ranson,  jeatured  in   "Angels  with 
Broken    Wings",    a   Republic   Production. 


ffeattui  ((&£&/ utovtt  Mfitole  fa 


DIVISION  OF  OTTO  K.OLESEN  ILLUM'NA^  mmm 


HOLLYWOOD,  CALIFORNIA 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 


DAY- 


-PHONES- 


-NIGHT 


NEW  ADDRESS 

Hillside       a-jti  n    i  a  HEmpstead 

6373  De  Longpre  Ave. 

8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


International  Photographer  for  April.  1941 


27 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY   DETAIL 


LABORATORY  EQUIPMENT  WILL  BE 
ON  DISPLAY  AT  THE  NEW  SHOW 
ROOM,  IN  CONNECTION  WITH  MY 

New  Address: 


1515  Cahuenga  Blvd 

Hollywood,  California 

ART  REEVES 

Cable  address:  ARTREEVES 


GOERZ 

KINO-HYPAR 
LENSES 

'       f:2.7  and  f:3 


CLASSIFIED 


for     regular     and     color 

movies  of  surprising 

qualify.   High   chromatic 

correction  . . . 

Focal  lengths   15mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur   and 

Professional  Movie  Cameras. 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free   FOCUSER 
and    FIELD    FINDER    CONTROL 

for  Filmo    121    and   Simplex-Pockette,   no    more 
off-center  pictures,  magnifies  4  and  8x. 
For    itftailfil    Inftirmatittn    Atldrett 
Of  ill.  IP   I 

C.  P.  Coerz  American  Optical  Co. 

317   East   34th  St.,   New  York  [ 

American    Lens    Makers    Since     1899 


LARGE  QUANTITY  OF  PROFESSIONAL  CAM- 
ERAS AVAILABLE.  WRITE  FOR  BARGAIN 
BOOKLET.     BURKE   &  JAMES,   INC.,   223   W. 

MADISON   ST.,   CHICAGO,   ILL. 

WANTED   TO    BUY    FOR   CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO      LABORATORY      AND      CUTTING 

ROOM  EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600  Broadway  New  York  City 

Tel.    Circle  6-5080— Cable  :    CINEQUIP 

BELL    &    HOWELL,    5-WAY    SOUND    PRINTER. 
CAMERA    EQUIPMENT    COMPANY 
1600   Broadway  New  York   City 

Tel.    Circle   6-5080— Cable:    CINEQUIP 
FOR    SALE:    Like   new.     H.C.E.    "Hollywood"    Com- 
bination   35    mm.    and    16    mm.    automatic    one-man 
developing  machine.   Operating  capacity  3000  feet  of 
positive   or    1500    feet    of    negative    per    hour.     Price 
$1250.00.         HOLLYWOOD        CAMERA        EX- 
CHANGE,    1600   N.    Cahuenga   Blvd. 
MITCHELL    NC    1 
ute.     B.    B.    RAY 
Calif. 


12.    LIKE    NEW.    Up   to   the   min- 
,    300    W.    Durante    Road,    Arcadia, 


FOR  SALE— High 
sound  system,  new, 
noise  reduction  ami 
for  immediate  use, 
Newsreel  recording 
era,  complete  with 
corder  with  B.  & 
$2.r>0.00.  Cash  or  v, 
camera  equipment. 
Ave.,   Tuekahoe,   N. 


quality  modern  portable  .double 
Berndt-Maurer  Galvanometer  and 
lifier,  W.  E.  microphone,  complete 
$2,000.00.  Single  system  R.C.A. 
head  for  Mitchell  Standard  Cam- 
motor.  $250.00.  Finely  built  re- 
H.  Magazine,  no  Galvanometer, 
ill  trade  for  Mitchell  or  B.  &  H. 
DON  MALKAMES.  40  Standish 
Y. 


Tay  Garnett  Signed  by  RKO 

•  lay  Garnett,  for  many  years  one  of 
Hollywood's  top  megaphonists,  has  been 
signed  to  direct  RKO  Radio's  "Unexpected 
Uncle,"  which  Erich  Pommer  will  place  in 
production  about  May  1st. 

Garnett,  who  recently  directed  "Cheers 
for  Miss  Bishop,"  has  a  lengthy  list  of 
splendid  pictures  to  his  credit,  including 
such  successes  as  "Seven  Sinners,"  "Slight- 
ly Honorable"  and  "Eternally  Yours." 


TrIANk  yOU, 

qREqq  TolAisd 

By  HUGH  MANN  BUNG 

Our  congratulations  to  Gregg  Toland  for 
his  article  on  "What  is  Good  Photogra- 
phy?" in  the  March  issue  of  Interna- 
tional Photographer.  At  last  here  is 
some  light,  for  information  is  a  form  of 
light,  and  a  word  of  encouragement  to  the 
other  members  of  the  photographic  divi- 
sion ;  men  who  do  not  receive  Academy 
awards;  men  who  never  are  given  screen 
credit;  men  who  seldom  are  mentioned  in 
publicity,  but  men  who  valiantlv  have 
fought  and  labored  for  better  photography. 

Do  they  ever  get  a  good  word?  Seldom! 
Instead  it  is  mostly  destructive  criticism, 
such  as  "this  is  out  of  focus,"  "too  much 
headroom,"  "hurry  up  with  that  camera," 
"let's  get  a  Western  load,"  "correct  that 
slate,"  "bad  composition." 

Do  they  receive  instruction  or  even  a 
hint  on  what  is  good  photography?  Hardly 
ever.  Just  because  we  did  not  receive  any 
help  in  any  of  our  days  ( who  was  there 
to  give  any?  ),  just  because  our  bosses  kept 
exposure  on  exteriors  so  childishly  secret, 
is  no  reason  why  we  should  not  help  these 
"'boys,"  some  of  who  are  now  grey  haired. 

When  a  doctor  discovers  a  serum  he  pub- 
lishes information  on  it;  he  lectures  on  it; 
he  does  everything  possible  to  make  it 
known  in  order  that  mankind  may  benefit. 
Why  are  discoveries  on  light  so  often  kept 
in  the  dark? 

Toland  reminds  us  of  El  Greco,  the  fam- 
ous Spanish,  Greek-born  painter.  Other 
maestri  of  light  might  well  follow  the  steps 
of  "El  Greggo"  by  giving  us  lectures  and 
articles  on  their  experiences  with  light,  as 
well  as  instruct  their  assistants  and  discuss 
the  subject  with  them.  Then  when  the  time 
comes  land  I  am  sure  it  will)  when  they 
are  promoted  and  hand  over  their  jobs  to 
these  younger  men,  they  will  be  proud  of 
them  as  having  been  their  students. 

A  truly  great  artist  of  photography 
should  know  that  the  sun,  our  chief  source 
<>(  light,  does  not  stop  with  each  sunset; 
but  a  day  has  gone  that  never  will  return. 
There  are  many  things  we  can  stop,  but  not 
old  man  Sol.  As  time  goes  on  cameramen 
of  today  should  be  promoted  and  become 
the  directors,  writers  and  producers  of  to- 
morrow. 

So  let's  instruct  these  younger  men,  lets 
give  the  boys  a  chance.  They  are  entitled 
to  it  and  they  have  waited  long  enough. 
Let  us  see  today's  cameramen  in  higher 
positions  and  as  time  marches  on  see  to  il 
that  seconds,  assistants,  loaders  and  candi- 
dates to  loaders  should  become  tomorrow's 
cameramen. 


28 


MORE  THAN 
HALFWAY 


DEFT  treatment  and  dramatic  lighting  con- 
tribute much  to  modern  screen  productions. 
Unusual  effects  receive  competent  support 
from  the  wide  latitude  and  exact  uniformity 
of  Eastman  negative  films.  They  always  can 
be  depended  upon  to  meet  director  and 
cameraman  more  than  halfway.  Eastman 
Kodak   Company,    Rochester,   ]\.   Y. 

J.  E.  BRl  LATOUR,  INC.,  Distributors 
Fort  Lee  Chieago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  lit  tie  light  is  avuilable 

BACKGROUND-X 

for  backgrounds  and  general  exterior  work 

EASTMAN  NEGATIVE  FILMS 


1515  No.  Cahuenga 
Hollywood,  Calif. 


Again  and  Again! 

THE  WINNERS 
For  Best  Photography 

By  popular  vote  of  The  Critics 
in  the  preview  poll  of 

THE  HOLLYWOOD  REPORTER 

Proclaims  the  achievement  of 

A  GREAT  CAMERA  CREW 
and 

EASTMAN  PLUS  X  NEGATIVE! 

For  the  Twentieth  Century-Fox  Production 

"TOBACCO  ROAD" 

ARTHUR  MILLER,  1 

Directoi   ol   Photography  ^'^^^'^ 

JOE  LA  SHELLE  \ 

Operative  Cameraman  ifl|        \+       i    - 

PAUL  LOCKWOOD  Mklm 


Assistant  Cameraman 


NEGATIVE  PROCESSING 

and  Daily  Prints 

By 

Twentieth  Century-Fox  ^m 
West  Coast  J^M 

LABORATORIES, 

Brulatour  Service 


MAy,  1941 


25  CENTS 


w  i 


Bfl 


<;. 


,*.   f      i« 


"'*sk" 


.„..,  , 


,«..  -  ■< 


B 


>r\ 


*,&*»JS'"-""  -;  m 


■^ra 

*    * 

=r    .      :     w* 


J& 


A  big  step  forward 


Du  Pont  tyine.  Giain  Positives 

These  new  films  record  and  reproduce 
sound  with  greater  fidelity.  They  enhance 
the  definition  of  detail  in  the  projected 
image.      A  logical  sequel  to  fine  grain 
camera  negatives,  they  offer  improved 
quality    at  every   photographic   step   in 
motion  picture  production.     An  op- 
portunity to  discuss  fully  their  individual 
characteristics  and  use  is  yours  for 
the  asking. 


Du  Pont    Film    Manufacturing    Corporation 


9  Rockefeller  Plaza 
New  York  .  .  .  N.Y. 
Plant..  Parlin, N.J. 


Smith  &_  Aller,  Ltd. 

6656  Santa  Monica  Blvd. 
Hollywood  .  .  California 


BETTER  THINGS  for  BETTER  LIVING  through   CHEMISTRY 


International 
phoToqRAphER 


Vol.  XIII 


May,  1941 


No.  4 


LEADING  ARTICLES  IN  THIS  ISSUE 


The  Cinema  Triangle,  Miller — Page  3 

"Art"  on  a  Mountain  Top,  Fernstrom — Page  5 

"Necessary  Evil"  Get  His  First  Break — Page  7 

S.M.P.E.  Convention— Page  10 

Up  in  the  Air,  McGregor — Page  16 

Moving  Mountain  at  Warner  Bros. — Page  26 

PICTORIAL  FEATURES 


-Page  2 


Study  for  Wood  Panel,  De  Angelis- 

Some  of  the  Winners  in  Still  Photography  Show — Pages  6,  8,  9 

"Lady  from  Cheyenne,"  Jones  and  Freulich — Pages  13,  14,  15 

REGULAR  DEPARTMENTS 

16  mm  Department — Page  20 
The  Say,  Rella — Page  21 
Tradewinds — Page  22 
Television — Page  24 
Patents,  Fulwider — Page  25 


Editor,  Herbert  Ali.ek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical   Stage  Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN.CAIDWEU 


PACIFIC 
LABORATORIES 

Complete  16  mm.  Film  Service 

Machine  Developing 

For  the  professional  Photographer.  Den- 
sitometry, and  Time  and  Temperature 
Control.  Specializing  in  Negative-Positive 
Sound  Track  and  Picture  Work.  Also 
Duplicate  Negatives,  Composite  Prints, 
35  mm.  Optical  Reductions  to  16  mm. 

Kodachrome  Duplications 

A  three-day  service  on  sound  or  silent 
prints  from  Original  Kodachrome. 

Sound  Recording 

Direct  on  16  mm.  film.  Dubbing,  Narra- 
tion, Sound  Effects,  and  absolute  Syn- 
chronous Sound  on  film.  Sound  Camera 
and  Sound  Truck  available  on  location. 

The  most  complete  16  mm.  plant 
on  the  West  Coast. 

1027  NO.  HIGHLAND 

HOLLYWOOD         HI-0226         CALIFORNIA 


IL5TERS 


produce   Mwonlicjbt  anA  C0i«jht 

£ff«cts  in  Daytime _Fw<j  Sc^n^s- 

hffuscra  Focus. and  many  dritfr  effrcls 


Gcorqo  H.  Scheibe 

ORIGINATOR   OF   EFFECT   FILTERS 

1927  WEST  7BTM  ST.  LOS  ANGELES.  CAL 


Subscribe  Now! 

w       CO 
0      CD 

CO        CO 
CO       CO 

(N     Ol 

B 

O 

0 

8  9 

J3 

0      <D 

0      O 

D1    - 

0       0 

o    o 

o  -g 

"^     o 

2  * 

o    o 

LO       LO 

Ph  -o 

Ol     Ol 

H      X 

m   «e 

9 -J 

-^        u 

O  S    "* 

T3    £ 

"5  s 

o    6 

CO 

<D 

c  § 

U     — i 

CO            ~0 

S-i    w 

C     ^ 

CO            *£ 

o  rt 

u  m       2 

E 

"co              CD              >> 

□  □        £ 

3             H            « 

m        w        U 

$p5D 

A  \ 

TAR 

International  Photographer  for  May,  1941 


NUDE  FOR  WOOD  PANEL 


By  Luigi  de  Angelis 


The  CJNEMA  TRIANqU 


By  Virgil  E.  Miller 


i  It's  a  far  cry  from  the  Holy  Trinity  to 
the  more  or  less  unholy  tripod,  but  be- 
tween them  lies  the  gamut  of  triads,  tri- 
angles, and  trinities,  involving  the  mystical 
number  "three",  that  enters  so  largely,  and 
sometimes  uncannily,  into  the  world's  af- 
fairs. Our  every  day,  our  life  cycle,  our 
Universe,  our  religions,  our  Physical  Sci- 
ence, and  other  phases  of  life's  phenomena, 
may  be  graphically  represented  by  our 
mathematical  triangle  and  its  adaptations. 
The  triangle  is  symbolic  of  strength  and 
symmetry;  it  lends  itself  to  our  conception 
of  the  completed  cycle. 

That  much  for  generalities.  We  will  now 
look  for  a  specific  analogy  in  the  work  of 
producing  motion  pictures  —  the  triangle 
that  must  obtain  for  a  perfect  producing 
organization.  Needless  to  say,  that  tri- 
angle exists;  sometimes  equilateral,  but 
too  often  irregular,  thus  giving  rise  to 
some  of  the  problems  of  the  studio. 

To  complete  the  analogy:  It  is  evident 
that  the  author,  the  scenario-writer,  and 
the  results  of  their  labor, — the  STORY, 
form  one  leg  of  our  triangle.  Looking 
further,  we  recognize  the  director  as  being 
very  important,  his  work  must  be  allotted 
a  leg  in  our  hypothesis.  The  third  leg  of 
this  important  triangle  must  be  comple- 
mentary to  the  other  two  legs,  but  just  as 
important  if  the  triangle  is  to  become  a 
strong,  symmetrical  whole;  it  must  merge 
the  story  and  direction  into  the  perfect 
product,  fusing  them  into  a  tangible  asset, 
the  picture  on  the  screen. 

Thus  we  come  to  the  DIRECTOR  OF 
PHOTOGRAPHY.  He  must  be  the  instru- 
mentality joining  the  fundamentals  of  the 
other  two  sides,  which,  taken  with  their 
correlated  angles  (all  other  studio  help) 
form  our  producing  organization. 

Much  could  be  written  concerning  the 
relation  to  each  other  of  the  three  sides 
and  three  angles;  each  is  dependent  on  the 
other,  but,  being  variables,  the  dependence 
varies,  hence  our  irregular  triangles. 
Should  any  one  of  our  three  angles  become 
obtuse  (try  to  take  in  too  much  territory), 
the  other  two,  by  mathematical  law,  must  be- 
come acute  (suffer  at  the  other's  expense). 
In  other  words,  should  the  author,  the  di- 
rector, or  the  cameraman  develop  a  case 
of  ego  that  is  permitted  to  manifest  itself 
to  the  detriment  of  the  others,  they  and 
their  product  suffer,  their  work  loses  it's 
intended  value.  A  perfect  story,  perfectly 
directed  and  perfectly  photographed,  gives 
us  the  perfect  picture — the  perfect  triangle. 
This  should  be  the  aim  of  these  three  most 
important  units,  but  this  consummation  of 
their  united  efforts  calls  for  perfect  co- 
operation. Such  co-operation  most  natur- 
ally manifests  itself  between  the  writer  and 
the   director;    again,   between   the  director 


and  the  cameraman ;  seldom  has  it  been 
apparent  between  the  writer  and  the  cam- 
eraman. No  doubt  this  is  accounted  for  in 
that  the  writer  and  the  cameraman  are  not 
nearly  so  closely  associated  in  their  work 
as  the  other  two  groups,  but  it  can  be 
shown  that  their  work  is  interdependable. 
and  that  they  can  be  of  much  assistance  to 
each  other,  to  the  benefit  of  all. 

Space  does  not  permit  of  our  dwelling 
upon  the  relation  existing  between  the  first 
two  groups,  only  insofar  as  is  necessary 
to  present  the  relation  between  the  writer 
and  the  director  of  photography — the  gen- 
eral theme  of  this  article. 

To  be  an  author  (and  this  includes  the 
scenarist),  presupposes  a  creative  imagina- 
tion, but  a  creative  imagination  unsup- 
ported by  a  knowledge  of  the  cameraman's 
magic  is  terribly  handicapped,  for  such 
knowledge  equips  him  with  the  power  of 
visualization;  visualization  is  the  picture 
alchemist's  secret  in  the  transmutation  of 
thought  into  action.  This  crystallized 
thought-action  is  passed  on,  through  the 
medium  of  the  screen,  to  the  audiences 
whose  ultimate  reactions  are  a  measure  of 
box-office  returns,  the  only  criterion  of 
success  or  failure  in  this  mighty  industry. 
The  cameraman-sculptor,  with  chiseled 
light  and  object  composition,  is  the  me- 
dium of  this  thought  transference;  if  the 
screen  fails  to  properly  present  the  writer's 
thought,  there  is  an  evident  weakness  in- 
herent in  the  structural  set-up,  the  triangle 
is  un-equilateral. 

Is  this  condition  due  to  a  certain  dis- 
respect accorded  the  cameraman  because 
his  work  in  the  past  has  been  partially 
manual?  Perhaps,  and  if  so,  it  has  been 
reflected  back  in  the  lost  potentialities  of 
both  story  and  direction.  I  do  not  like  to 
think  that  the  above  condition  exists  at  the 
present  time,  but  I  do  believe  that  the  cam- 
eraman has  not  received  and  does  not  re- 
ceive the  credit  due  him  in  the  success  of 
a  picture;  he  too  often  has  been  considered 
a  mere  mechanic,  instead  of  a  person  best 
fitted  to  clothe  the  writer's  thought  that 
it  may  be  best  presented  to  the  world  at 
large. 

A  knowledge  of  the  manual  labor  con- 
nected with  the  photographing  of  a  pro- 
duction, and  a  general  understanding  of 
photographic  terms  and  equipment,  does 
not  prove  of  much  worth  to  the  writer;  he 
must  know,  or  be  told,  of  the  ultimate  re- 
sults that  may  be  obtained  through  trick 
work,  composition,  color  values,  and  most 
of  all,  the  multitudinous  values  of  light 
and  shade,  for  after  all,  photography  is 
but  the  recording  of  light  and  its  many 
manifestations.  Let  him  master  these 
fundamentals  and  he  can  then  consider 
himself  in  a  position  to  work  more  smooth- 


ly with  the  man  responsible  for  bringing 
to  life  his  brain  children.  But  since  most 
writers  do  not  have  the  time  or  inclination 
to  master  the  details  of  cinematography, 
they  should  not  ignore  the  help  that  a 
cameraman  is  always  ready  to  give,  not 
so  much  in  plot-building,  but  in  the  ren- 
dition of  characters  and  creating  the  prop- 
er atmosphere  in  which  they  work. 

As  the  writer's  success  is  dependent  on 
the  screen  success  of  his  brain-children,  we 
can  readily  see  how  poorly  rendered  char- 
acters, in  an  atmosphere  that  doesn't  "ring 
true,"  will  greatly  off-set  the  picture's  suc- 
cess, even  with  an  excellent  story  plot,  for 
the  audience  does  not  see  the  picture  con- 
ceived in  the  writer's  mind.  The  Director 
of  Photography,  knowing  the  desires  of 
the  author,  can  transfer  them  to  the  screen 
in  such  a  way  that  the  audience  lives  and 
laughs  and  cries  and  forgets  that  they  are 
merely  beholding  a  story's  unfoldment.  He 
can  light  his  "sets"  so  that  the  intangible 
thing  called  "atmosphere"  becomes  tan- 
gible and  real ;  he  can  heighten  any  char- 
acterization or  portrayal  by  lighting  it  in 
such  a  way  that  the  audience  associates  it 
with  their  own  ideas  of  such  visioned  en- 
vironment; it  exists  as  they  imagine  in 
their  own  experiences,  and  you  have  a  sym- 
pathetic audience. 

It  is  not  for  me  to  detail  the  various 
types  of  lighting  necessary  in  creating 
"atmosphere";  an  underworld  "den"  may 
be  weird,  shadowy,  and  suggestive;  under- 
lighting, or  from  beneath,  is  associated 
with  infernal  fires,  and  so  on  through  the 
whole  gamut  of  effects.  Suffice  to  say  that 
the  cameraman  who  can  most  nearly 
"bring  to  life"  the  visualization  that  a 
creative  writer  must  possess  in  order  to 
create,  will  most  truthfully  invest  the  char- 
acters and  their  environment  with  their 
proper  and  most  believable  picturization. 

The  camera's  magic  and  "untruthful- 
ness," properly  understood  by  both  writer 
and  director,  may  be  made  to  augment  the 
writer's  conception  as  he  writes;  incorpor- 
ating them  in  the  original  thought,  they 
are  not  weakened  as  in  the  case  of  being 
added  later  as  "lean-to's"  or  afterthoughts. 
Process  backgrounds  and  projection  print- 
ers make  possible  the  impossible  of  a  few 
years  ago;  they  are  the  Aladdin's  Lamps 
that  transport  us  into  the  past  or  the  fu- 
ture; make  fantasy  real  and  turn  realities 
into  fantasy.  These  things  are  possible 
because  the  camera  can  be  made  to  tell 
untruths,  but  in  "lying"  it  speaks  a  great 
truth.  The  camera  is  only  a  thing  of  metal, 
a  dead  thing  until  touched  by  a  Midas  of 
Thought.  Guided  by  the  cameraman's 
knowledge  of  its  functionings,  coupled 
with  his  years  of  experience  in  properly 
"balancing"    the    composition    of    objects 


International  Photographer  for  May,  1941 


and  light,  the  camera  performs  its  miracles 
that  transforms  the  writers  abstract 
thought  into  concrete  images,  that  he  who 
sees  may  enjoy  what  another  man  may  have 
only  thought. 

It  is  such  knowledge  as  this  that  the 
writer  must  have  or  be  able  to  obtain  to 
enable  him  to  further  his  story  values  and 


give  his  audience  cause  to  see  more  of  his 
visualized  thought.  If  the  Director  of  Pho- 
tography can,  with  his  lighting,  illusions, 
and  controlled  "atmosphere,"  enable  the 
writer  to  better  his  product  by  more  close- 
ly co-operating  during  a  story's  inception, 
he  immediately  simplifies  the  director's 
problems  and  enables  him  to  turn  out  a 
better  product. 


In  other  words,  this  tri-mutual  effort  on 
the  part  of  the  writer,  director,  and  cam- 
eraman, should  strengthen  the  triangle  of 
co-operation  so  necessary  to  the  ultimate 
benefit  of  their  combined  as  well  as  in- 
dividual efforts,  and  result  in  a  better  pic- 
ture for  the  producer  whose  money  makes 
such  "triangles  of  effort"  possible. 


JN  dollARS  ANd  CENTS 


{Based  on  reports  of  the  Bureau  of  the 
Census,  Department  of  Commerce.) 

Motion  picture  production  in  the  United 
States,  measured  by  dollar  cost,  has  in- 
creased approximately  three-fold  in  twenty 
years.  The  annual  production  budget  now 
exceeds  215  million  dollars  a  year,  com- 
pared with  77  million  dollars  in  1921;  86 
million  dollars  in  1923;  93  million  dollars 
in  1925;  184  million  dollars  in  1929,  and 
197  million  dollars  in  1937.  The  figures 
released  by  the  Census  Bureau  covered  the 
year  1939,  as  reported  for  the  Decennial 
Census  of  1940. 

The  costs  listed  include  laboratory  work 
and  positive  prints,  but  do  not  include  any 
part  of  the  cost  of  distribution  and  exhi- 
bition. (A  Census  report  recently  issued 
showed  the  annual  intake  of  motion-picture 
theatres  at  $673,045,000. ) 

The  unique  nature  of  the  picture  produc- 
tion industry  is  indicated  in  the  Census  re- 
port. More  than  93  million  dollars  was 
paid  out  in  executive,  supervisory,  clerical 
and    star   salaries,   representing  nearly   50 


COOKE  LENSES 

Easily  passing  tests  far  more 
exacting  than  present  uses 
require,  Cooke  Lenses  bring 
assurance  of  meeting  both 
your  present  and  your  future 
needs.  Speeds  and  focal 
lengths  for  every  need.  Write 
for    descriptive    literature. 

BELL  &   HOWELL 

COMPANY 

Exclusive  World  Distributors 
1848    Larchmont    Avenue,    Chicago 
\<w     »nrk:    .'in    Rockefeller    Plii/.a 
Hollywood:    716    N.    La  lire  a    Ave. 

Washing D.C. :   \r±\  t,  st.N.W. 

London:    13-14   Great  Castle  Street 


per  cent  of  all  production  costs.  Wages 
paid  to  skilled  and  unskilled  manual  labor 
amounted  to  less  than  half  of  the  salaries 
paid  to  executives  and  creative  talent. 

Of  the  $215,664,929  total  cost  of  produc- 
tion, pictures  produced  in  California  cost 
$186,848,971.  The  amount  expended  in 
New  York  State  was  $18,059,670. 

The  report  does  not  permit  a  determina- 
tion of  the  average  cost  per  negative  be- 
cause $38,031,356  represented  investments 
in  unfinished  productions  at  the  end  of  the 
year.  The  number  of  feature  subjects  in- 
cluded 493  in  black  and  white  and  27  in 
color. 

Approximately  $6,000,000  was  expended 
for  short  subjects,  a  substantial  increase 
over  1937;  $6,415,573  was  expended  for 
positive  prints,  and  nearly  $4,500,000  for 
news  reels. 

Industrial  films  produced  during  the  year 
cost  more  than  $2,100,000,  compared  with 
$855,782  two  years  earlier,  and  educational 
films  expanded  to  over  $725,000  from 
$320,000  two   years  earlier. 

Although  the  production  of  motion  pic- 
tures is  not  a  manufacturing  industry,  its 
commercial  importance  is  so  great  that  data 
in  regard  to  it  have  been  collected  at  the 
biennial  censuses  of  manufactures  for  1921 
and  subsequent  years. 

The  "Motion  pictures,  not  including  pro- 
jection in  theatres"  industrv,  as  constituted 
for  census  purposes,  embraces  all  processes 
and  activities  connected  with  the  produc- 
tion of  motion-picture  films,  such  as  the 
preparation  and  photography  of  scenes,  the 
development  of  exposed  films,  the  printing 
of  projection  films,  and  other  studio  and 
laboratory  work  necessary  in  connection 
with  the  production  of  projection  films  for 
use..  It  does  not,  however,  include  the  dis- 
tribution of  these  films  and  their  projection 
in  theatres.  No  data  are  included  for  estab- 
lishments that  reported  less  than  $5,000 
as  the  cost  of  work  done  during  the  census 
year. 

The  salaried  personnel  reported  for  this 
industr)  comprises  officers  of  corporations, 
supervisory  and  clerical  employees,  and 
also  many  productive  employees,  such  as 
scenario  writers,  unit  managers  and  assis- 
tant directors,  actors,  technical  employees, 
and  extra  talent.  The  wage  earners  are 
those   engaged    chiefly    in    skilled    and    un- 


skilled manual  labor,  and  comprise  car- 
penters, painters,  prop  makers,  laboratory 
and  wardrobe  workers,  property  men,  etc. 
This  item  includes  the  cost  of  work  done 
in  1939  on  films  that  were  completed  after 
the  close  of  that  year,  but  does  not  include 
the  cost  of  work  done  prior  to  1939  on 
films  completed  within  the  year.  It  does, 
however,  include  receipts  for  laboratory 
and  other  work  done  for  others,  and  for 
use  of  studio  facilities. 


MORE  HISTORICAL  FACTS 

Inadvertently,  in  our  March  issue,  cer- 
tain points  which  should  be  of  interest  to 
our  readers  were  not  mentioned  in  Ira 
Hoke's  article,  "Some  Historical  Facts." 
Therefore,  we  quote  a  letter  received  from 
Agfa  Ansco,  Binghamton,  New  York: 

"Mr.  Herbert  Aller,  Editor 

International  Photocrapher, 
6461   Sunset  Boulevard, 
Hollywood,  Calif. 

Dear  Mr.  Aller: 

"In  looking  over  the  March  issue  of  In- 
ternational Photographer,  we  noticed 
an  article  entitled  "Some  Historical  Facts," 
by  Ira  Hoke. 

"This  seemed  to  neglect  completely  any 
historical  facts  regarding  Agfa  Ansco  or 
our  contributions  to  the  photographic  in- 
dustry, which  of  course  includes  the  fact 
that  we  own  the  original  patents  on  roll 
film  or  'flexible'  film  and  that  our  Super- 
pan  Press  and  Ultra  Speed  Pan  were  the 
first  modern  high-speed  films  as  we  know 
them  today. 

"Naturally  with  99  years  of  history  as  an 
American  manufacturer,  there  is  a  pretty 
sizable  list  of  firsts  that  are  attributable  to 
us,  and  of  course  a  great  deal  of  the  mod- 
ern improvements  in  photography  are  the 
results  of  our  research.  Therefore  it  seem- 
ed a  little  peculiar  that  in  this  article, 
"Some  Historical  Facts,"  no  mention  was 
made  of  this. 

Cordially    yours, 
Robert  M.  Dunn, 

Advertising  Department." 


"ART"  ON  A  MOUNTAJN  TOp 


Back  in  1928  when  I  was  still  a  newsreel 
cameraman,  the  boss  used  to  say,  "Cut  out 
the  ART  and  get  the  picture!"  But,  after 
all,  I  thought,  what  was  the  use  of  study- 
ing all  over  Europe  ( there  was  one  then ) 
the  art  of  the  great  masters  unless  I  found 
an  outlet  for  the  knowledge  I  was  sopping 
?    It  seems  I  was  in  the  wrong  end  of 


up 

the  game,  so  I  cut  the  news  and  strove  for 

|  art.    Sketching  and  painting  were  slow  for 

!,my  temperament,  but  color  intrigued  me. 

In   1930  I   was   back   in   Europe  shooting 

travelogues  in  color,  thus  having  a  lot  of 

fun    combining    my    studies    with     actual 

practice.    All  the  patterns,  balance,  forms 

and  curves  provided  by  Nature,  from  the 

floor  of  the  desert  to  the  highest  mountain 

tops,  and  the  habitation  upon  them,  were 

'.  the  subjects  painted  by  my  camera.    And 

i  the  top  of  a  mountain  was  one  of  my  most 

recent  subjects,   animated    with    the    flying 

!  feet  of  a  dozen  expert  skiiers. 

Leon  C.  Shelly,  who  produced  the  novel 
travel  film  "Beautiful  British  Columbia," 
,  sent  for  me  to  produce  his  latest,  one  on 
sports.  Having  just  finished  four  other 
color  shorts  on  sporting  events  for  Del 
Frazier  at  Warner  Bros.  I  guess  Mr.  Shelly 
thought  I  must  be  in  such  fine  fettle  that 
he  need  not  explain  exactly  what  the  sport 
was  to  be.  All  I  knew  was  that  he  had 
some  snow  stuff  in  mind.  I  thought  we 
would  drive  out  in  his  car  to  some  snowy 
location,  set  up,  shoot,  and  rush  back  to 
the  hotel  and  re  -  -  -  lax.  That  was  about 
the  speed  with  which  we  shot  each  sequence 
last  summer  and  aforesaid  reel  of  "Beauti- 
ful British  Columbia"  ended  up  with  187 
such  snappy  scenes,  more  or  less  artistic, 
depending  upon  whether  you  and  the  audi- 
ence like  my  style  of  art  with  a  color 
camera. 

With  black  and  white  we  grab  ourselves 
the  various  films  we  want,  a  flock  of  filters 
from  the  palest  yellows  to  deep  brown, 
reds  that  compete  with  the  spectrum,  dif- 
fusers  of  our  choice  and  a  lot  of  burned 
gauzes,  as  well  as  other  colored  filters  and 
graduates.  In  color  we  are  really  begin- 
ning to  do  the  same  thing.  Personally, 
still  striving  for  that  art,  I  utilize  prac- 
tically as  many  pieces  of  glass  and  cloth 
as  do  many  of  the  camera  gentry  of  the 
major  studios  of  Hollywood.  It  doesn't 
make  a  bit  of  difference  as  to  the  color 
process  being  used.  For  example,  on  many 
scenes  of  "Beautiful  British  Columbia"  I 
had  as  many  as  four  elements  of  glass  and 
cloth  in  front  of  the  lens.  My  pet  is  a 
neutral  density  polaroid  disk  that  Land, 
the  Boston  inventor,  made  for  me  back  in 
Boston  when  I  shot  a  "Popular  Science" 
subject  of  his  business,  Polaroid.  There 
is  no  color  at  all  in  this  disk  and  it  is  one 
of  the  best  color  gadgets  available  for 
color   shooting    when    the    angles    of    light 

International  Photographer  for  May,  1941 


and  shooting  prove  right  by  visual  check. 
With  experience  it  is  easy  to  know  the  best 
times  of  day  the  sun  angles  for  Polaroid 
so  that  the  artist  can  get  the  utmost  "paint- 
ing" with  this  aid.  This,  combined  with 
other  filters  to  balance  the  exposure  in 
scene  and  sky,  another  to  correct  for  the 
color  of  daylight,  plus  gauzing  for  edges 
where  sharp  tree  branches  might  give  one 
ocular  lacerations,  really  brings  out  the 
most  beautiful  aspects  of  a  particularly 
pleasing  composition.  At  least  it  pleases 
the  photographer,  and  if  many  who  see  it 
are  pleased  you  get  a  slow  elation  of  not 
having  wasted  years  of  art  study  with  pen- 
cil and  brush. 

We  know  that  all  nature  is  beautiful, 
but  the  photographer  who  really  can  lay 
claim  to  being  an  artist  is  the  one  who 
chooses  for  the  composition  of  his  scene 
that  most  beautiful  position  and  angle 
from  which  to  shoot.  Then  he  selects  that 
lens  which  will  gather  in  the  greatest 
amount  of  beauty  in  the  compositional 
limitations  of  the  Academy  projection 
aperture  limits.  My  camera  has  a  ground 
glass  which  shows  me  exactly  what  the 
projection  screen  area  is  going  to  be.  Thus 
I  see  on  the  ground  glass  exactly  what  the 
audience  is  going  to  enjoy  or  reject.  So  .  .  . 
in  my  search  for  beauty  .  .  .  and  beauty  is 
my  business,  I  answered  the  call  of  Shelly 
and  hopped  a  train  for  Canada. 

Too  late  I  found  out  that  our  location 
was  the  top  of  a  mountain !  We  had  to 
climb  it,  Mt.  Revelstoke,  up  near  the  Can- 
adian Rockies,  a  climb  of  five  miles  to 
6500  feet  at  the  summit.  There  was  a  chalet 
where  we  were  to  live  ...  we  had  to  pack 
the  equipment  on  our  backs  . .  .  and  make  it 


By  Ray  Fernstrom 

on  skiis.  I  hadn't  been  on  skiis  since  I  was 
a  kid.  What  a  herringbone,  or  reasonably 
accurate  facsimile.  I  pounded  into  the  up- 
ward path  of  that  mountain !  After  eight 
hours  we  finally  made  it.  Wolfing  supper, 
I  went  to  bed  and  slept  like  a  pretzel  until 
dawn.  Awakened  by  "Come  and  get  it,"  I 
joined  the  galloping  throng  in  to  break- 
fast, but  my  gallop  was  more  the  waddle 
of  a  sidewinder.  I  felt  as  if  I'd  slept  with 
skiis,  pack  and  poles  on. 

Breakfast  was  good  and  the  scenes 
through  each  window  the  most  magnificent 
picture  material  ever  laid  before  me.  The 
snow-capped  Canadian  Rockies,  balsam 
trees  ( picture  trees,  I  called  them  last 
year),  now  heavily  laden  with  thick  new 
snow,  all  against  a  gorgeous  blue  sky  and 
fleecy  clouds  here,  thunderheads  there. 
Dessert  before  breakfast. 

The  temperature  outside  was  near  zero, 
so  I  had  to  wash  the  oil  out  of  the  camera. 
Naturally  one  never  takes  equipment  into 
warm  rooms,  so  no  difficulty  was  experi- 
enced at  any  time  in  regard  to  the  camera. 
We  rigged  a  skii  sled  for  toting  the  outfit 
about  the  top  and  upper  slopes,  but  the 
boys  had  a  hard  time  of  it.  Skiis  did  not 
work  while  towing  or  pushing  the  sled,  so 
we  tried  snow  shoes.  Without  these  we 
sank  to  our  hips  through  the  crust. 

Shelly,  the  producer,  is  an  expert  skiier 
and  raved  about  the  snow  as  being  the  most 
perfect  he'd  ever  seen  for  sport.  To  me  it 
was  all  pretty  pictures.  Art  came  easy  at 
first.  We  worked  slowly  away  from  the 
chalet,  shooting  in  all  directions  as  paint- 
ings presented  themselves. 

All  we  had  to  do  was  animate  them  with 
(Contnuied  on  page  12) 


Ray  Fernstrom  and  producer  Leon  C.  Shelly 


HOLLYWOOD  STUDIOS'  STILL  PHOTOGRAPHY  SHOW 


A  few  of  the  Winners 


Deanna   Durbin,  photographed  by  RAY  JONES,   Universal. 
First  prize    (gold   medal),  Novelty  in  still  picture. 


Judy  Garland  and  Mickey  Rooney  by  ED  CRONENWETH. 
First  prize,  best  action  still,  Metro  Goldwyn  Mayer. 


i 


Brenda  Joyce   by    FRANK    I'OWOLNY,  2()ih   Century   Fox. 
Second    place   winner,    best    fashion    still. 


Marlene    Dietrich    by    HAY    JONES,    Universal   Studios. 
First   prize   for   best    action    portrait. 


"(NECESSARy  EVil"  QETS  his  fJRST  bllEAli 


A  letter  to  International  Photographer  anent  First  Annual  Salon  of 
the  Still  Photographers  of  the  Motion  Pieture  Studios  of  Hollywood 


Since  the  writer  appears  to  be  more  or 
less  well  known  to  the  membership  of 
Local  659  and  prefers  to  speak  his  alleged 
mind  without  fear  or  favor,  let  or  hind- 
rance, and  will  in  all  probability  take  a 
few  candid  shots  at  his  friends  WHO 
HAVE  MADE  THIS  SHOW',  we  have 
promised  Jim  Doolittle  that  this  letter  will 
be  published  anonymously. — Editor. 

Dear  Sirs: 

The  other  day  while  giving  my  desk  a 
long  threatened  cleaning  I  came  across  the 
announcement  of  Hollywood  Studios'  Still 
Photography  Show. 

"Phooey,"  phooied  I,  in  my  open  minded 
manner,  just  a  bunch  of  production  shots, 
the  hold-it-for-a-still  stuff  that  retards  sche- 
dules, makes  a  deficit  in  the  budget,  gives 
the  assistant  director  one  more  excuse  for 
an  intense  hatred  of  mankind,  and  finds  its 
way  into  some  trade  journal  that  nobody 
reads! 

Calling  the  City  Engineer's  Office  I  found 
that  Gordon  Street  is  a  tributary  to  Holly- 
wood Boulevard  and  so  neatly  concealed 
on  the  map  I  had  a  feeling  it  was  just  the 
proper  place  to  hide  a  flock  of  motion  pic- 
ture stills! 

Arming  myself,  figuratively,  of  course, 
with  a  hammer  and  a  couple  of  fistfuls  of 
adobe,  I  set  out  to  do  some  scientific 
knocking  and  slinging.  In  fact,  as  I  drove 
along,  I  developed  the  impulse  to  out- 
fiddle  Fidler  and  out-wince  Winchell.  Thus 
you  can  sense  the  largeness  of  my  purpose. 

Finally  I  arrived  at  1455  Gordon  Street 
and  entered  the  portals  of  the  Academy  of 
Motion  Picture  Arts  and  Sciences. 

So,  figuratively,  of  course,  I  reached  for 
my  hammer  and  took  a  quick  squint  at  the 
catalog  to  see  whom  should  I  take  the  first 
poke  at.  Nice-looking  piece  of  printing, 
was  my  first  impression  of  the  guide  book; 
big  numbers  just  like  on  the  prints  and  the 
photographers'  names  spelled  right  out 
loud  with  credits  for  the  studios  and  pro- 
duction. Looks  funny  to  see  a  still  photo- 
grapher getting  top  billing  with  the  stars' 
names  in  teeny-weeny  letters!  A  bit  of 
bravery  on  the  part  of  the  Academy  to  try 
and  sell  catalogs,  I  thought,  when  all  the 
dope  is  pasted  on  the  photographs  them- 
selves ! 

To  give  the  works  a  quick  once-over 
seemed  the  thing  to  do  in  order  to  get  a 
sort  of  perspective.  Half  an  hour  of  this 
and  I  had  the  feeling  that  while  there  were 
no  high  spots,  neither  were  there  any 
chuck-holes.  A  good,  level  bunch  of  taking 
and  picking,  as  much  a  credit  almost  to  the 
judges  as  to  the  photographers.  But  I 
thought  the  Board  much  too  big-hearted 
in  hanging  about  twice  as  many  prints  as 

International  Photographer  for  May,  1941 


rather  cramped  quarters  would  accommo- 
date. 

It's  my  idea  that  an  exhibition  piece 
needs  what  we  call  "carrying  quality." 
Ihere's  a  whole  lot  of  difference  between 
the  effect  of  a  shot  seen  at  arm's  length 
and  the  same  one  viewed  from  across  the 
room.     Therefore   simplicity   is   the   thing. 

On  the  other  hand,  I  realize  that  most 
production  stills  necessarily  contain  a  mass 
of  detail  essential  to  the  story  that  cannot 
be  rubbed  out  just  to  make  the  shot  "arty." 
Cliff  Maupin  gets  pretty  close  to  my  tastes 
along  this  line  of  reasoning  with  his  back- 
stage shot  of  Alice  Faye  as  "Lillian  Bus- 
sell." 

Before  I  got  down  to  looking  at  the  prize 
winners,  I  thought,  "Here's  my  chance  to 
conk  the  judges  with  my  little  hammer!" 
But  to  my  amazement  I  had  no  trouble  in 
perfect  agreement  with  their  award  to 
Emmet  Schoenbaum  for  his  portrait  of 
John  Carradine.  And  I  would  have  been 
glad  if  he'd  gotten  something  for  his  "Man 
in  the  Moon"  with  Charley  Grapewin  mak- 
ing some  lunar  observations  through  a 
ventilator  of  the  "little  house." 

I  could  easily  have  gotten  into  a  tangle 
with  the  committee  on  classifications.  John 
Ellis'  "Assassination  Scene"  is  listed  as  a 
posed  production  shot  and  has  about  as 
much  action  as  I've  ever  seen.  Number 
269,  by  Eric  Carpenter,  is  called  an  action 
portrait  and  shows  Judy  Garland  comfort- 
ably resting  in  a  lawn  chair!  Number  256, 
by  Hal  McAlpine,  has  a  nice  lot  of  swing, 
pleasing  decorative  quality  which  Miss 
Virginia  Dale  couldn't  have  spoiled  if  she'd 
tried.  She's  carrying  too  much  shrubbery 
and  underbrush  in  her  arms,  however,  to 
give  the  shot  desirable  simplicity.  James 
Manatt's  action  portrait  of  Igrid  Bergman 
stopped  at  the  proper  instant,  for  had  his 
shutter  faltered  I  should  have  felt  it  my 
duty  to  march  right  over  to  the  Hays'  office! 

Doesn't  Ann  Sheridan  own  any  ward- 
robe? Some  day  I'm  going  to  run  across 
a  picture  of  her  all  dressed  up.  Maybe  I 
have  and  didn't  recognize  her.  Schuyler 
Crail  picks  up  where  George  Hurrell  left 
off  and  does  all  right  by  her,  too.  If  "gam- 
ma" is  the  Latin  for  "gams"  I'm  going  to 
brush  up  on  my  mathematics  and  would 
like  nothing  better  than  to  do  it  the  way 
Gaston  Longet  goes  about  it  in  his  arrange- 
ment of  highly  adequate  hosiery  filling 
from  a  scene  in  "No,  No,  Nanette."  Anna 
Neagle  doesn't  take  a  thing  away  from  the 
picture  either. 

Alexander  Kahle's  "Campaign  Speech," 
with  Orson  Welles,  has  everything,  but  the 
print  isn't  being  helped  any  by  being 
mounted  cock-eyed  and  all  gowed  up  with 
penciled    "art-work" (  ?  )      Lucille    Ball    is 


practically  "gone  with  the  wind"  in  Kahle's 
shots  of  her  standing  over  an  up-draft. 

Gene  Bichee  didn't  miss  a  point  in  his 
portrait  of  Claudette  Colbert.  Entirely  free 
from  the  conventions  of  theatrical  photo- 
graphy, he  has  photographed  Claudette  just 
as  she  is  and  as  we  are  accustomed  to  see- 
ing her  from  the  loges. 

Lazlo  Willinger  could  have  had  little 
trouble  in  merely  photographing  Bosalind 
Russell  as  she  is.  To  a  susceptible  mind, 
she  requires  few  of  the  artifices  of  the 
camera.  Background's  a  bit  too  messed  up, 
though,  for  simplicity. 

The  most  compelling  exhibits  were  in  the 
color  section.  Though  not  in  competition, 
they  represented  the  only  advance  since  the 
beginning  of  the  cinematographic  calendar. 
Ray  Jones'  shots  of  Irene  Dunn  and  Peggy 
Moran,  while  not  offered  in  competition, 
ought  to  get  more  recognition  than  these 
few  words  of  intended  commendation.  Over 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing  Heads,   Developing   Machines,   Bipack 
Color  and  Black  and  White  Printers,  Re- 
winds. 
Special    Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:    "CINEBARSAM" 


Efficient  Courteous 

Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

■ 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


"Choir  Scene"  from  "Our  Town"  by  ROBERT  COBURN, 
Lesser,  UA.,  second  place  winner,  best  posed  production  still 


'Moderne,"  Brenda  Marshall  bj   CHARLES  SCOTT  WELBOURNE,  from 
'Footsteps    in    the    Dark,"    Warner    Bros.     First    prize,    best    fashion    still. 

8 


on  the  other  wall  Net  Scott  gets  less  atten- 
tion than  he's  entitled  to  with  four  14  by 
17's  of  Paulette  Goddard.  Perfect  photo- 
graphy and  color.  As  a  dabbler  in  the 
medium,  I  was  excited  to  the  point  of  won- 
dering why  we  don't  see  more  of  this  work. 

Scotty  Welbourne  solves  a  problem  for 
me.  I  always  thought  defunct  flash  lamps 
were  a  total  loss  the  moment  they  were 
popped.  But  now  I  know  all  one  has  to 
do  is  to  get  Rita  Hayworth  and  sprinkle 
some  of  these  G.E.'s  about  and  there  you 
have  a  picture.  Scotty  made  nice  work  of  it. 

Maybe  the  Academicians  will  create  an- 
other classification  next  year  and  give  some 
of  the  color  boys  a  break. 

About  this  time  my  shoes  were  getting 
a  bit  hard  on  the  botom,  so  I  took  a  seat 
to  redistribute  the  weight.  John  LeRoy 
Johnston  must  have  had  the  same  idea,  for 
he  edged  in  alongside  and  asked  me  how 
I  liked  the  set-up.  Well,  I  hadn't  much 
use  for  my  little  hammer  up  to  now  and 
I  thought  I  ought  to  give  it  a  bit  of  a 
work-out.  "It's  a  credit  to  all  concerned, ' 
I  was  glad  to  say.  "But  .  .  ." 

"Shoot,"  he  says.    "But  what?" 

Well,  I  thought,  as  I  said  a  while  back, 
(here  are  too  many  prints  shown  in  rather 
cramped  quarters,  arrangement  of  the 
screens  a  bit  confusing  and  so  near  together 
that,  if  several  folks  are  each  trying  to  see 
the  same  print,  there's  a  traffic  jam. 

Classifications  always  baffle  me  just  as 
they  have  here.  I  don't  see  what  difference 
it  makes  to  the  public  or  to  the  studio 
either,  for  that  matter,  whether  a  man 
makes  a  picture  with  a  speed-gun,  8  by  10, 
or  a  brownie,  provided  he  gets  the  stuff. 
Of  course,  I'm  willing  to  defer  to  the  fact 


that  8  by  10's  are  necessary  in  production 
work,  but  I'm  speaking  of  exhibition  ma- 
terial. 

The  front  page  of  the  catalog  looks  like 
the  credit  titles  on  a  half  a  dozen  super- 
specials.  Too  many  judges.  I  cannot  see 
'how  so  many  could  possibly  have  gotten 
together  on  a  single  subject!  A  jury  of 
•  one  man  would  be  ideal,  except  I'm  will- 
ing to  concede  the  likelihood  that  a  terrible 
squawk  would  go  up  from  all  over.  Not 
more  than  three  would  be  entirely  practical 
and  they  ought  to  be  photographers,  not 
executives  from  the  several  branches  of  the 
industry.  These  latter  had  their  say  when 
the  pictures  were  first  made. 

Then  I'd  suggest  that,  during  the  year, 
the  individuals  have  the  privilege  of  sav- 
ing out  certain  shots  they  think  might  be 
good  exhibition  stuff  before  it  gets  lost  in 
the  archives.     He   would   then    be   able   to 

have  some  jurisdiction  in  the  matter  of 
!i  .  .     ,  .  .  .     . 

ms  particular  tastes  in  cropping,  printing 

and  mounting.    Too  much  of  the  art  shown 

looks  a  bit  factory  made.  In  some  instances, 

■•it's   my    guess    that   the    chap    who    might 

have  had  some  good  stuff  to  show   "don't 

work  here  any  more." 

Anyway,  John,  I  do  like  the  salon  im- 
mensely and  since  it  isn't  damned  with 
being  an  "art  exhibit,"  it's  entertaining. 
If  it  gets  around,  I'll  bet  next  year  it'll 
prove  a  sensation,  especiallv  in  centers 
where  the  back-stage  scene  is  still  a  novelty. 

And  if  it  doesn't  wake  up  an  interest 
among  the  still  photographers  and  give 
them  the  itch  to  do  better  work  and  more 
of  it,  I'm  sure  there  ought  to  be  a  few 
new  names  in  next  year's  catalog. 

Wonder  where  I  laid  my  little  hammer? 

International  Photographer  for  May,  1941 


"Skiers  on  Mountain"  from  "The  Mortal  Storm"  by  MERRITT  SIBRALD, 
Metro     Goldwyn      Mayer.       First      prize,      best      action      production      still. 


Portrait    by    Baby    Sandy    by    ED    ESTABROOK,    Universal    Studios. 
Second  place  winner  (Certificate  of  Merit),  best  posed  portrait  study. 


S.  M.  p.  E.  CONVENTION 


ABSTRACTS  OF  PAPERS  OF  THE  SPRING 

CONVENTION,  ROCHESTER,  N.  Y., 

MAY  5-8,  1941 

The  Papers  Committee  submits  for  the  consid- 
eration of  the  membership  the  following  abstracts 
of  papers  to  be  presented  at  the  Spring  Conten- 
tion. It  is  hoped  that  the  publication  of  these  ab- 
stracts will  encourage  attendance  at  the  meeting 
and  faciliate  discussion.  The  papers  presented  at 
Conventions  constitute  the  bulk  of  the  materia! 
published  in  the  Journal.  The  abstracts  may  there- 
fore be  used  as  convenient  reference  until  the 
papers  are  published. 

A.    C.   Downes,   Editorial   Vice-President 

S.  Harris.  Chairman.  Papers  Committee 

G.   A.  Chambers,   Chairman,    IP  est  Coast  Papers 

Committee 
P.  Arnold  P.  J.  Larsen 

F.  T.  Bowditch  G.  E.  Matthews 

F.  L.  Eich  W.  H.  Offenhauser 

R.  E.  Farnham  R.  R.  Scoville 

C.  Flannagan  S.  P.  Solow 

E.  W.  Kellogc  W.  V.  Wolfe 

Five  New  Models  of  16-mm  Sound  Koda- 
scopes;  W.  E.  Merriman.  Eastman  Kodak  Co.. 
Rochester,  N.  Y. 

A  new  line  of  Eastman  16-mm  sound  projectors 
identified  by  the  model  numbers,  F,  FB,  FB-25, 
FS-10,  and  FB-40,  will  be  described.  The  picture 
mechanisms  and  sound-heads  of  all  models  are 
identical.  The  difference  among  the  models  lies 
in  the  finish,  the  carrying  cases,  the  power  output 
of  the  amplifier,  and  the  speaker  equipment.  The 
first  three  models  will  operate  on  alternating  or 
direct  current;  the  last  two  are  for  50-60  cycle 
duty.  Some  of  the  standard  features  of  these  pro- 
jectors are  a  750-watt  projection  lamp  and  a  2- 
inch  projection  lens  of  F/1.6  aperture.  There  is 
a  focus  adjustment  on  the  scanning  optics  lo 
permit  satisfactory  reproduction  from  either  re- 
versed negative  or  positive  contact  prints.  A  care- 
fully designed  rotary  stabilizer  is  common  to  all 
models.  A  rotary  snap  switch,  which  turns  on  the 
pilot  light,  motor,  and  projection  lamp  in  the 
proper   sequence,   is   also   standard   equipment. 


Air-Conditioning  Safety  Device  for  The- 
aters; E.  R.  Morin,  Connecticut  Stale  Police, 
Hartford,  Conn. 

A  new  fire  damper  release  and  method  of  pre- 
venting smoke  from  being  recirculated  or  pumped 
into  a  theater  auditorium  through  the  air-condi- 
ticning  system  in  the  absence  of  heat  or  flame 
has  just  been  developed  by  the  Motion  Picture 
Division  of  the  Connecticut  State  Police,  and  will 
he  described  in  the  paper. 

Some  Properties  of  Polished  Glass  Sur- 
faces; F.  Jones,  Bausch  &  Lomb  Optical  Co., 
Rochester,  N.  Y. 

A  discussion  of  work  done  at  Mellon  Institute 
as  the  Bausch  &  Lomb  Fellow  on  the  investigation 
of  the  durability  of  polished  glass  surface;-  ex- 
posed to  ordinary  atmospheric  attacks;  efforts  to 
perfect  accelerated  tests  so  as  to  permit  rapid 
determination  of  the  durability  characteristics  of 
different  kinds  of  glass;  the  application  of  this 
phenomenon  to  increasing  light  transmission;  and 
to  the  artificial  stabilization  of  surfaces  on  glass 
normally   not  very  durable. 

Improvements  in  Methods  of  Surface 
Treatment  of  Lenses;  W.  C.  Miller,  Vard  Me- 
chanical Laboratories,  Pasadena,  Calif. 

As  early  as  1892  it  was  known  that  the  reflec- 
tivity of  polished  glass  surfaces  was  reduced  and 
the  light  transmission  increased  when  a  suitable 
thin  film  was  present  on  the  surface  of  the  glass. 
Many  efforts  to  produce  such  a  thin  film  arti- 
ficially met  with  only  partial  success.  In  the  last 
five  years  two  different  methods  were  discovered 
which  achieved  the  desired  results.  Only  one  of 
the  processes,  however,  was  satisfactory  for  com- 
mercial application.  Great  improvements  have 
been  made  in  the  durability  and  weather  resist- 
ance of  the  thin  films  deposited  on  the  lens  sur- 
faces by  this  process.  Lenses  coated  with  these 
improved  methods  require  no  more  careful  hand- 
ling than  any  good  lens  is  entitled  to,  and  finger- 
prints and  dust  can  be  removed  without  detri- 
mental effects  to  the  coating.  The  thin  films  can 
not  be  scratched  with  anything  less  hard  than  a 
metal  point.   By  this  process  reflectivity  can  be  re- 


Looking  Things  Over  al  North  American  Aviation  Plant. 

Left  to  right:  Buzz  Holland,  head  of  Photographic  Division;  Lew  Kerkes,  electri- 
cian; Len  Powers  ("al  ease"  hehind  camera);  Lester  Schorr  and  (Jus  Peterson, 
President  of  Local  659,  IATSE. 

10 


duced  from  5  per  cent  for  untreated  polished 
surfaces  to  as  low  as  0.5  per  cent  for  treated  ones. 
Experiments  show  that  even  greater  reductions  are 
possible  and  should  be  available  in  the  near 
future. 

New  and  Old  Aspects  of  the  Origins  of 
96-Cycle  Distortion;  J.  O.  Baker,  RCA  Manu- 
facturing Co..  Camden,  N.  J.,  and  R.  O.  Drew, 
Indianapolis,  Ind. 

The  work  of  previous  investigations  is  reviewed 
and  correlated  with  the  results  obtained  in  a  com- 
prehensive study  of  96-cycle  distortion  due  to  the 
presence  of  sprocket-holes  adjacent  to  the  sound- 
track. 

This  distortion  has  been  known  for  some  time. 
Much  improvement  has  been  made  by  the  adop- 
tion of  the  magnetic-drive  recorder,  the  non-slip 
printer,  and  the  rotary  stabilizer  sound-head  for 
the  purpose  of  overcoming  the  problem  of  slip- 
page. 

Recording  of  sound  on  doubly  perforated  film 
will  introduce  96-cycle  disturbances  of  both  am- 
plitude and  frequency  modulation  because  of  the 
film  flexure- and  possible  variations  of  film  speed 
at  the  sprocket-hole  rate. 

Processing  of  sound  records  on  doubly  perfor- 
ated film  will  introduce  a  96-cycle  hum  and  am- 
plitude modulation  depending  upon  the  process- 
ing technic. 

Printing  of  sound  records  on  doubly  perforated 
film  introduces  96-cycle  hum  and  disturbances  of 
both  amplitude  and  frequency  modulation,  due  to 
film  flexure  and  variations  of  film  speed  at  sprock- 
et-hole rate. 

Reproducing  of  sound  records  on  doubly  per- 
forated film  introduces  96-cycle  disturbance  be- 
cause of  film   flexure. 

The  use  of  doubly  perforated  film  for  any  one 
of  the  four  steps  of  recording,  printing,  processing, 
or  reproducing  will  result  in  a  96-cycle  disturb- 
ance of  the  reproduced  sound. 

Since  it  has  been  proved  that  the  presence  of 
the  sprocket-holes  adjacent  to  the  sound-track  is 
the  source  of  all  96-cycle  distortion,  and  the 
omission  of  the  sprocket  holes  entirely  eliminates 
this  distortion,  it  becomes  obvious  that  singly  per- 
forated film  should  be  used  throughout  all  phases 
of  sound  recording  and  reproduction  if  complete 
freedom  from  96-cycle  distortion  is  to  be  obtained. 

A  substantial  improvement  can  be  realized  if 
the  singly  perforated  film  is  employed  only  for 
the  original  negative,  master  positive,  and  re- 
recorded negative,  and  doubly  perforated  film  for 
the  release  prints. 

The  use  of  singly  perforated  film  throughout  all 
phases  has  a  decided  advantage  of  providing  ad- 
ditional space,  without  affecting  the  picture  di- 
mensions for  a  double-width  sound-track  or  two 
sound-tracks,  one  for  control  or  other  purposes. 

An      All-Purpose      Sound-Track      Printer; 

G.  M.  Best,  Warner  Brothers-First  National  Stu- 
dios, Burbank,  Calif. 

When  Warner  Bros.  Studio  changed  the  type  of 
recording  from  variable-density  to  ultraviolet 
variable-area  several  years  ago,  existing  printers 
were  unable  to  handle  more  than  one  type  01 
printing  on  a  production  basis.  Hence,  certain 
printers  had  to  be  set  aside  for  variable-density 
printing  only,  to  take  care  of  the  sound-effects 
library;  others  for  ultraviolet  printing  only;  and 
one  was  segregated  for  white-light  and  blue-light 
printing  of  fine-grain  duplicating  negatives  and 
positives.  As  all  these  printers  were  from  twelve 
to  seventeen  years  old,  they  were  not  capable  ol 
producing  prints  completely  free  from  weave  or 
slippage,  so  under  the  supervision  of  A.  J.  Ton- 
dreaii.  head  of  the  camera  and  laboratory  repair 
shop  at  the  Studio,  a  completely  new  printer  was 
designed  and  built  to  handle  all  sound-track  print- 
ing, both   for  the  studio  and  release   printing. 


Incorporated   in   one   printing   head   is   a   novel, 
ium-slip   film  movement,  a   selection   of   filters  for 
ultraviolet    or   fine-grain   negative    printing   at   the 
turning    of    a    dial,    accurate    regulation    of    light 
I  over  a  scale  nearly  three  times  as  broad  as  pre- 
vious printers,  and  equipment  for  variable  density 
printing.    Negative   and   positive  weave  is  limited 
to  ipO.OOl  inch,  the  negative  setting  being  adjust- 
able to  take  care  of  negative  shrinkage.    Operat- 
ing at  nearly  twice  the  speed  of  previous  printers, 
four  of  the  new   machines   provide   adequate   ser- 
i  vice    with    ten    companies    shooting    and   three    or 
i  more  pictures  in  the  clubbing  and  release  stages. 

Some  Equipment   Problems   of   the   Direct 

16-mm   Producer;    Loyd  Thompson,  The  Calvin 

Co..  Kansas  City,  Mo. 

The  increased  use  of  direct  16-mrn.  production 

for  industrial  and  educational  use  has  caused  a 
'■  need  for  more  and  better  equipment.  A  great  deal 
I  of  the  16-mm  equipment  on  the  open  market  has 
i  been    designed    for    amateur    use.     Most    of    this 

equipment  gives  perfectly  satisfactory  service  even 
[   when    used    for    industrial     purposes.      However, 

much  of  it  could  be  redesigned  and  built  better 
j  so  that  it  would  stand  up  under  hard  use  and 
;  would  also  allow  the  user  to  work  faster  and 
'   easier.    A   limited   survey   was   made   among   the 

16-mm  film  producers  to  find  what  was  most 
■  wanted  in  16-mm  equipment  and  film.  Some  sug- 
!   gestions  are  made  for  improvements  in  film  stocks, 

cameras,  and  sound-recording  and  projection 
'   equipment.    Improvements  are   also  suggested   for 

16-mm.  laboratory  service. 

Some  Recent  Advances  in  the  Photogra- 
phic Process;    C.    E.    K.    Mees,   Eastman   Kodak 

i    Company,  Rochester,  N.  Y. 

A  popular  discussion  of  recent  advances  in  our 

1  knowledge  of  what  happens  when  photographic 
materials  are  exposed  and  developed. 

The  Stereophonic  Sound-Film  System — 
General  Principles;  Harvey  Fletcher  and  E.  C. 
Wente,   Bell   Telephone   Laboratories,   New   York, 

i   N.  Y. 

The  general  requirements  are  discussed  for  an 
ideal  recording-reproducing  system  as  determined 
by  the  characteristics  of  hearing  of  a  typical  group 
of  persons  listening  in  a  typical  concert  hall  or 
theater.  Quantitative  values  are  set  down  as  ideal 
objectives.    Although  microphones,  loud  speakers, 

i  and  amplifiers  which  had  been  developed  for  the 
stereophonic  transmission  system  were  available 
for  meeting  these  objectives,  no  recording  medium 
was  known  which  would  record  the  wide  dynamic 
range  of  intensity  levels  which  the  objectives  in- 
dicated was  necessary.  However,  this  wide  inten- 
sity range  objective  was  met  by  using  a  com- 
pandor in  the  electrical  system.  A  general  dis- 
cussion is  given  of  the  reasons  for  choosing  the 
particular  compandor  used,  for  using  variable- 
area  rather  than  variable-density  on  the  recorded 
film,  for  using  three  instead  of  a  greater  or  lesser 
number  of  channels.  A  general  description  of  the 
stereophonic  sound-film  system  is  given,  including 
the  enhancement  feature.  This  feature  makes  it 
possible  to  re-record  from  the  original  recording, 
at  the  same  time  making  any  desirable  changes 
in  the  dynamic  range  or  frequency  response  in 
each  of  the  three  channels. 

Mechanical  and  Optical  Equipment  for 
the  Stereophonic  Sound-Film  System;    E.    C. 

Wente,  R.  Biddulph,  L.  A.  Elmer,  and  A.  B.  An- 
derson, Bell  Telephone  Laboratories,  New  York, 
N.  Y. 

The  same  mechanism  is  employed  for  propell- 
ing the  film  in  both  recording  and  reproducing. 
To  permit  recording  of  the  longer  orchestral  se- 
lections without  interruption,  the  machines  are 
designed  to  handle  film  in  2,000-ft.  lengths.  Spe- 
cial features  of  the  film-propulsion  system  for 
obtaining  great  uniformity  of  speed  at  the  trans- 
lation points  are  described.  The  three  signal  and 
one  control-channel  currents  are  recorded  by 
means  of  light-valves  of  identical  construction. 
All  four  tracks  are  exposed  while  the  film  is 
passing    over    a    free-running    supporting    roller, 


mounted  on  the  same  shaft  with  a  new  type  of 
internally  damped  impedance  roller.  In  reproduc- 
tion, each  track  is  exposed  through  an  objective 
of  high  aperture  to  light  from  an  incandescent 
source.  After  passing  through  the  film,  the  light 
from  each  track  is  carried  by  a  glass  rod  to  a 
photoelectric  cell. 

The    Stereophonic    Sound-Film    System — 
Theory     and     Performance     of     Compandor 


Systems;   Harvey  Fletcher  and  W.  B.  Snow,  Bell 
Telephone  Laboratories,  New  York,  N.  Y. 

The  general  theory  of  compandor  systems  is 
developed  and  shows  that  the  intensity  level  of  a 
group  of  signals  can  be  compressed  and  then  ex- 
panded without  distorting  the  signals.  It  indi- 
cates the  conditions  necessary  for  obtaining  this 
result.  Various  types  of  compandor  systems  ap- 
■(  Continued  on  page  18) 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY   DETAIL 


LABORATORY  EQUIPMENT  WILL  BE 
ON  DISPLAY  AT  THE  NEW  SHOW 
ROOM,  IN  CONNECTION  WITH  MY 

New  Address: 


1515  Cahuenga  Blvd. 

Hollywood,  California 

ART  REEVES 

Cable  address:  ARTREEVES 


EASTERN  HEADQUARTERS  for  the  CAMERAMAN 


Professional  Studio  &  Cutting  Room  Equipment  Always  Available 


BELL  &  HOWELL       MITCHELL 


WALL 


Standard,    Hi-Speed,    Process      Standard,  Hi-Speed,  Silenced      Latest    Model    Single    System 
and   Eyemo  Cameras  and    NC  Cameras  Sound   Cameras 


WE  SPECIALIZE  in  REPAIR  WORK  on  MITCHELL  and  BELL  &  HOWELL  CAMERAS 


Interlock,   Synchronous,    Hi-Speed   and   Variable   Speed   Motors   with   Tachometers 
FEARLESS    BLIMPS   —    FEARLESS   and    BABY    PANORAM    DOLLYS 

35  mm.  Double  System  Recording  Equipment 

COOKE   SPEED    PANCHRO    and   ASTRO   PAN   TACHAR   LENSES— all   focal   lengths 
MOVIOLAS  SYNCHRONIZERS  REWINDS  TRIPODS 


FRANK-ZUCKER  CABLE  ADDRESS.  CINEQUIP 


^^  rn«^-tj^,:r  CABLE  ADDRESS.  CI N EQU I P 

(VAMERA  equipment 

\S^      16 OO   BROADWAY  nyc    V  CI.rcle   6-5080 


International  Photographer  for  May,  1941 


11 


''art"  on 

MOUNTAIN  TOp 

(Continued  from  page  5) 

skiiers.  Everywhere  was  virgin  snow. 
Here  was  a  chance  to  sketch  patterns,  com- 
pleting the  composition  with  effective  de- 
signs written  by  the  skiis  of  our  experts. 
To  get  exactly  the  effect  I  wanted  a  sketch 
was  made  of  each  composition  as  seen  in 
the  finder.  Then  I'd  sketch  in  the  lines  I 
wanted  the  skiiers  to  make  on  the  slopes  of 
virgin  snow.  They  would  pick  out  land- 
marks and  soon  the  scene  was  completed. 
Almost  every  one  was  identical  with  the 
original  sketch,  plus  the  ACTION.  We 
were  struggling  to  obtain  pictures  in  mo- 
tion and  the  stuff  I  saw  on  the  screen  here 
was  most  gratifying  considering  the  diffi- 
culties we  had  to  get  exactly  what  we 
wanted.  Often  the  ideal  set-up  was  just  a 
few  feet  out  over  a  cliff,  or  half  down  an 
alp,  but  the  boys  there  were  just  as  anxious 
as  we  were  to  get  the  best,  so  no  job  was 
too  tough. 

Great  areas  of  white  snow,  splashed 
with  brilliant  sunshine,  gave  us  color  pho- 
tographers an  interesting  problem.  To  aid 
in  obtaining  the  utmost  color  without  flar- 
ing the  snow,  I  went  so  far  as  to  use  com- 
binations of  neutral  density  filters  together 
with  the  polaroid  which  in  addition  to  its 
other  powers  of  cutting  haze,  darkening 
skies  and  cutting  glare  is  a  perfect  neutral 
filter.  The  skiiers  wore  colorful  suits  and 
we  wanted  those  colors,  but  we  had  to  hold 
down  the  snow  in  order  to  expose  for  the 
suits.   The  combinations  did  well. 

Fortunately  I  carry  a  wide  variety  of 
graduated  neutral  densities  from  clear  to 
black  and  by  jamming  a  collection  of  them 
from  all  sides  and  leaving  the  costumed 
areas  clear,  we  captured  all  the  color  there 
was  in  the  skii  suits.  Wish  I  had  two  of 
those  gadgets  Joe  Walker  invented  that 
slide  graduated  neutral  filters  from  both 
sides.  I  would  have  used  one  top  and  bot- 
tom and  the  other  from  the  sides.  For- 
tunately I  had  Harrison  glass  filters,  which 
are  flats,  and  no  distortion  appears  even 
when  four  of  them  are  shot  through  at  one 
time. 

Shooting  the  picture  was  absolutely 
nothing;  my  worries  began  when  I  thought 
of  getting  down  that  mountain  on  skiis. 
The  boys  packed  the  stuff  on  their  back- 
packs and  took  off  at  breakneck  speed  into 
the  snow  depths  below.  I  had  visions  of 
film,  camera,  lenses  splattered  against  trees 
to  the  right  and  left!  I  stood  at  the  sum- 
mit watching  them  disappear  down  the 
mountain  and  no  one  fell.  I  felt  better,  but 
very  lonely.  Finally  it  dawned  on  me  that 
I  was  alone  up  there  and  five  miles  of  ski- 
ing  down  .  .  .  for  me  to  DO  .  .  .  before  I 
could  even  find  out  if  all  was  well. 

Worry  about  the  stuff  soon  made  me 
desperate,  so   I   shoved  off,  grasping  fran- 


tically at  all  the  bits  of  advice  about  skiis 
that  I  had  picked  up.  Keep  your  knees  to- 
gether .  .  .  lean  forward  .  .  .  stem  to  slow- 
up  ..  .  but  I  couldn't  make  a  snow  plow 
out  of  those  skiis  .  .  .  at  all  .  .  .  faster  .  .  . 
faster  .  .  .  then  .  .  .  POW  ...  I  submerged. 
He's  down;  he's  up;  down  .  .  .up;  finally 
I  didn't  know  whether  I  was  climbing  up 
or  sliding  down.  Four  hours  later  I  reached 
bottom. 


A  hot  bath,  food,  aboard  the  train  we 
climbed,  safe  and  partly  sound;  but  the 
stuff  was  okay.  Nothing  wrecked  but  the 
cameraman,  and  the  woods  are  full  of 
them;  you  can  even  find  pieces  of  one  on 
the  trees  that  marked  my  descent,  not  ar- 
tistically, down  that  mountain.  If  the  pic- 
ture is  not  ART,  no  one  can  say  I  didn't 
try. 


WHAT  I  THINK  OF  "CITIZEN  KANE" 


"Citizen  Kane"  as  a  whole  is  a  noteworthy 
achievement  in  the  cinema  world  and  is 
recommended  as  a  "must"  picture  on  your 
list.  Welles  and  his  cast  are  more  than  com- 
petent; they  are  great  performers  and  they 
should  give  us  a  continuance  of  pleasurable 
moments  in  future  production. 

The  photography  is  strikingly  real;  it 
differs  from  everything  that  speaks  of  mod- 
ern tradition  and  daringly  resorts  to  some- 
thing which  seldom  ever  has  been  tried.  It 
seems  that  the  angle  employed  has  a  tend- 
ency of  bringing  the  characters  closer  to 
the  audience  and  makes  the  observer  feel 
that  he  is  participating  in  conversation  and 
action  taking  place  on  the  screen.  Whether 
this  is  accomplished  by  devising  low  ceil- 
ings and  shooting  upwards  or  at  times 
angling  the  camera  so  it  photographs  part 
of    a    man    whose    back    is    turned    to    the 


screen  and  full  view  of  another  who  is 
speaking  is  a  matter  which  the  reviewer 
will  not  try  to  discuss.  He  merely  cites  the 
reaction,  fiery  and  stimulating,  which  must 
be  acknowledged  as  caused  by  something 
different  than  that  which  the  average  pic- 
ture is  approached  from.  Let  it  be  said 
that  the  reviewer  has  not  noticed  this  be- 
fore, although  it  has  happened  in  many 
other  cases.  Let  it  be  said  this  is  nothing 
new  and  has  been  done  before.  No  matter 
what  is  said,  the  fact  remains  that  there  is 
something  terribly  exciting  about  the  way 
the  camera  approached  the  subject  in  this 
picture  and  that  is  the  story  you  will  read 
when  you  comply  with  this  "must"  instruc- 
tion. 

Gregg  Toland  received  photographic 
credit  and  Vern  Walker  is  credited  for  spe- 
cial effects  in  photography. 

— H.  A. 


A  STUDY  IN  PUBLICITY  OFF-STAGE 


A  previous  article  in  International  Pho- 
tographer discussed  candid  photography 
in  its  various  phases.  The  pictures  which 
appear  on  pages  14  and  15  have  a  specific 
meaning  to  the  average  layman  as  well  as 
to  the  magazine  patron.  They  are  not  pic- 
tures; they  are  photographic  stories  so  con- 
structed as  to  satisfy  a  public  curiosity  and 
at  the  same  time  prove  to  the  person  so 
interested  in  motion  picture  performance 
that  the  players  respond  to  the  normal, 
natural  reactions  as  do  the  men  and  wo- 
men in  average  life.  At  the  same  time  it 
permits  one  to  explore  a  careful  study  of 
life  on  location,  the  hardships  and  trials  of 
trying  to  work  under  strained  conditions 
when  the  players  must  accustom  them- 
selves to  outdoor  life  whether  or  not  it 
be  pleasant. 

In  spite  of  it  all,  these  pictures  bring  be- 
fore us  the  characters  in  their  most  natural 
poses.  At  no  time  is  Loretta  Young  strained 
or  camera  shy.  In  fact,  she  responds  in  a 
most  unreserved  manner,  throwing  her  emo- 
tions aside,  expressing  her  instantaneous 
reaction  to  the  immediate  situation. 

Under  normal  worldly  conditions  the 
photographer  can  get  along  from  day  to 
day  without  fear  of  criticism  or  worry  that 
he  is  not  creating  enough  interest  in  pic- 
tures he  is  shooting,  but  with  the  war  re- 
moving everything  from  the  front  page 
and  war  pictures  holding  the  interest  of  all 
readers,  the  photographer  today  is  faced 
with  the  formidable  problem  of  preserving 


the  interest  of  readers  with  type  of  pic- 
tures, not  so  much  as  to  the  type  of  pho- 
tography, which  will  cause  one  to  peruse 
the  pictures  a  second  time. 

Thus  photographs  must  speak  for  them- 
selves and  the  accompanying  words  and 
stories  be  of  such  secondary  importance 
that  they  are  relatively  unimportant. 

It  is  the  writer's  conviction  that  the  pho- 
tographer on  "The  Lady  from  Cheyenne" 
has  given  us  the  very  thing  we  have  dis- 
cussed here.  Had  there  been  gun  play,  tank 
movement  or  cavalry  charging  we  could 
then  say  it  was  comparable  to  any  war 
picture:  but  the  conditions  being  entirely 
different  we  say  that  it  has  action,  move- 
ment, realism  and  all  other  attributes  to 
hold  the  interest  of  the  reader  as  com- 
pared to  other  pictures  of  everyday  events 
which  are  able  to  create  interest  merely  be- 
cause they  are  dealing  with  the  subject  con- 
tinually on  everyone's  mind  today. 

— H.  A. 

Naval  Commander  to  Supervise  Movie 

Commander  Clyde  Lovelace,  U.S.N.,  has 
arrived  from  the  San  Diego  Naval  base  to 
serve  as  technical  assistant  to  Director 
Arthur  Lubin  during  the  filming  of  Uni- 
versal's  "Abbott  and  Costello  in  the  Navy." 

Commander  Lovelace  is  said  to  have 
supervised  the  reconditioning  at  San  Diego 
of  many  of  the  destroyers  turned  over  to 
Great  Britain  bv  Uncle  Sam. 


12 


FKUDUL/MUN UFN    S1AI,H 


"Lady  from  I -lie  venue 


The  time,  about  1870;  the  place,  frontier  Wyoming.  Top,  read- 
ing, left  to  right:  Steve  (Robert  Preston)  and  Jim  Cork  (Edward 
Arnold)  start  the  crooked  land  auction;  Annie  (Loretta  Young) 
the  naive  school  teacher  from  Philadelphia  to  whom  Steve  in  a 
burst  of  gallantry  sells  one  of  the  choice  lots;  bullets  tossed  into 
the   saloon    stove    frighten    two    of    the    bad    men;    dancing    with 

International  Photographer  for  May,  1941 


Stills  by  Eddie  Jones,  Roman  Fleulich  and  Ray  Jones  (portraits). 
Samuel  S.  Hinds  as  "Governor  Howard,"  Annie  greets  Steve, 
who  scarcely  recognizes  her  as  the  dowdy  school  teacher;  hench- 
men of  Cork  waylay  Annie's  train  to  capture  her;  Mrs.  McCuiness 
(Jessie  Ralph),  who  has  launched  Annie  in  her  plan  to  rid  Lara- 
ville  of  the  Jim  Cork  gang,  triumphantly  joins  Annie  in  leading 
the    women's   parade,    while   Jim    Cork    and    Steve   lead   the   men. 

13 


PUBLICITY — OFF  STAGE 


THE   LADY   FROM    CHEYENNE,"   Frank    Lloyd   Productions 


Loretta    Young   and    Robert    Preston   on    location    near   Mo- 
jave,   California,   where  much  of   the   picture   was  shot. 


Loretta  Young,  who  stars  in  the  title  role  of  Frank  Lloyd's 
new  frontier  comedy,  "The  Lady  From  Cheyenne,"  chats 
with   Alma   Lloyd,  daughter   of   the    movie-maker. 


The    most    photographed    street    in    the    world,    Universal's 
"Western   Street,"  serves  as  a   Wyoming   frontier   town. 


Producer  Frank  Lloyd  lines  up  a  lug  location  scene.  He  is 
speaking  to  several  hundred  extras  while  the  giant  camera 
boom   swings   into   line  for  the  "shot." 


Hundreds    of    Hollywood    extra    players    are    served    a    hot 
lunch  in  the  middle  of  the  Mojave  desert  of  California. 


Stills  by  Eddie   Jones,   Roman   Freulich   and   Ray  Jones  (portraits) 


"Come  and  get  it!"    Food  in  special  trucks  was  dispatched 
daily  from  Hollywood,  more  than  100  miles,  to  the  location. 


Relaxing  between  "takes"  of  outwitting  a  gang  of  crooked 
politicians,  Loretta  Young  practices  the  age  old  feat  of 
walking  on  a  rail. 


Up  llM  ThE  AIR 

All  names  used  in  this  story  are  purely  fictitious. 


The  S.  S.  Alexander  has  just  passed 
through  the  Golden  Gate,  outward  bound, 
and  turned  south  with  San  Pedro  listed 
for  the  next  port. 

We  were  up  forward  on  the  main  deck, 
smoking  and  relaxing  from  a  hard  spell 
of  work  along  the  Embarcadero  of  San 
Francisco,  where  we  had  photographed 
scenes  for  the  "She  Wolf." 

When  I  say  "We,"  I  am  referring  to  the 
camera  crew  of  the  Great  Feature  Play 
Corporation,  of  Hollywood. 

As  the  ship  passed  through  the  "Gate," 
the  big  China  Clipper,  inbound  from  the 
Orient,  passed  close  overhead,  and  that 
lead  the  conversation  into  the  events  of 
the  Air  Races  at  Ceveland,  Ohio,  and  the 
death  of  "Bud"  Johnson,  formally  known 
as  Lieut.  Johnson. 

My  assistant,  Bill  Stevens,  asked  if  it 
was  the  same  Johnson  that  helped  me  with 
the  scenes  used  in  "The  Great  Race/  and 
that  brought  forth  a  new  recital  of  the 
story. 

It  was,  perhaps,  one  of  the  most  out- 
standing experiences  in  my  career  of  dan- 
gerous situations,  an  experience  in  which 
impulses  acted  automatically  for  self-pres- 
ervation with  a  realization  of  the  danger 
into  which  I  had  been  thrown.  Not  until 
it  was  all  over  did  I  realize  the  conse- 
quences I  would  have  suffered  had  I  lost 
my  ability  to  think  —  automatically,  in- 
stantly. 

Looking  back  twenty  years,  when  auto 
racing  with  big  heavy  cars,  traveling 
around  bowl  shaped  wooden  tracks  was 
in  vogue,  I  was  faced  with  a  moment  for 
action  that  packed  a  lifetime  in  about 
twenty  seconds  of  chill-weakening  thrill. 

I  was  a  cameraman  in  production  at  the 
time,  for  one  of  the  major  producers,  en- 
gaged in  photographing  a  thrilling  race 
picture  featuring  a  prominent  male  star 
of  that  day. 

A  sequence  had  been  written  in  that  re- 
quired a  scene  showing  a  group  of  racers 
huddled  together,  fighting  for  place,  while 
running  at  top  speed  around  the  track. 

A  popular  track,  situated  a  short  distance 
west  of  Hollywood,  was  pulling  off  the 
last  race  of  the  season,  a  sort  of  handicap, 
with  entries  of  many  well  known  drivers. 

I  suggested  to  the  director  that  I  photo- 
graph the  entire  race  from  an  airplane, 
using  long  focus  lenses  that  would  bring 
the  action  close  up.  Well,  I  had  asked  for 
something  and — got  the  assignment.  1 
was  given  a  free  hand  to  make  all  the  ar- 
rangements I  thought  necessary  to  carry 
through  successfully. 

Lieut.  "Bud"  Johnson,  a  fine  fellow, 
flat  nosed,  gray-blue  sharp  eyes  and  scarred 
from     several     encounters    and     crack-ups 


By  Burr  McGregor 


while  flying  in  France,  was  idling  around 
the  lot  trying  to  work  up  a  job  of  stunt 
flying;  he  was  called  into  conference  with 
the  director  while  we  went  into  the  details 
of  the  story  requiring  the  stunt  we  wanted 
to  get. 

It  was  arranged  that  Johnson  would 
scout  around  and  find  a  plane;  "crate," 
as  he  called  it.  that  could  be  maneuvered 
easily  into  the  positions  required;  zoom- 
ing, fast  climbing  and  steep  banking. 

The  morning  of  the  day  of  the  race, 
Johnson  called  me  on  the  phone  and  said 
he  had  secured  a  pretty  good  "crate"  but 
could  get  no  parachutes.  I  said  I  was  will- 
ing to  take  a  chance  if  he  was  as  I  wouldn't 
know  what  to  do  with  a  parachute  if  I  had 
one.  "0.  K.,"  he  said,  "meet  me  at  the 
flying  field  right  after  lunch  and  we'll 
rigg'er  up." 

With  my  assistant,  I  drove  to  the  field 
and  unloaded  the  equipment  and  waited 
for  Johnson.  Half  an  hour  later  he  came 
zooming  toward  us  out  of  the  sky  in  a  stiff 
dive  and  then  leveled  out,  roaring  over 
our  heads,  or  what  would  have  been  our 
heads  had  we  not  flattened  out  on  the 
ground,  then  he  made  a  fast  climb,  circled 
around  and  landed.  He  seemed  well  satis- 
fied that  the  "crate"  would  carry  us  around 
and  get  what  we  wanted ;  I  took  his  word 
for  it  since  he  would  be  at  the  controls 
while  I  did  the   photographing. 

In  those  days  we  did  not  have  the  elab- 
orate equipment  for  working  in  the  air  that 
has  since  been  developed,  but  after  a  lot 
of  fussing  we  managed  to  strap  and  secure 
a  tripod  in  the  rear  cockpit  that  would 
hold  the  heavy  camera  secure  in  any  posi- 
tion for  working  over  the  side  and  point- 
ing down. 

All  set  to  go,  we  had  to  work  out  signals 
that  would  enable  me  to  tell  him  what  posi- 
tions to  get  into. 

First,  we  decided  to  do  our  general  work 
from  an  altitude  between  five  and  a  thous- 
and feet,  but  we  would  go  up  four  thous- 
and feet  for  a  nice  full  view  of  the  track 
and  the  crowd. 

"What  kind  of  signals  do  you  want  to 
use  when  we  get  up,"  I  asked. 

"Well,  I'll  tell  ya,"  he  said,  and  went 
into  a  moment  of  thought.  "Ya  see,  the 
sky's  goin'  to  be  crowded  t'day  and  I'll 
have  to  keep  a  pretty  sharp  lookout  for 
those  amateurs  floatin'  around:  can't  never 
guess  how  they're  goin'  t'move  an'  I  don't 
want  'em  too  close." 

"No,"  I  said,  "we  want  racing  automo- 
biles in  this  picture." 

"Well,  it's  like  this,"  he  said.  "You're 
in  back'v  me  an'  I  won't  have  time  t'look 
'round,  an'f  I  did  we  couldn't  hear  nothin' 


through  the  helmets,  so  I'll  tell  ya  what 
ya  do. 

"When  we  get  up  high,  I'll  level  out  so 
ya  can  spot  around  an'  see  what  ya  wanna 
get.  If  ya  wanna  go  left,  tap  me  on  the 
left  shoulder;  right,  on  the  right  shoulder: 
If  ya  wanna  zoom  down,  tap  me  on  the 
bean;  if  ya  wanna  level  out,  knuckle  me 
on  the  back  between  the  shoulder  blades, 
— get  me?" 

"I  get  it,"  I  said,  "Let's  go!" 

I  pulled  on  the  overalls  and  clapped  on 
the  helmet  and  goggles  and  climbed  into 
my  seat  along  side  the  camera. 

Lieut.  Johnson  looked  me  over  and  said, 
"Now  listen,  kid;  keep  your  feet  away 
from  those  control  cables  an  keep  your 
seat  strap  tight;  no  tellin'  what  kind'v  a 
stunt  I  might  have  ta  dive  into  up  there, 
an'  quick-like,  t'keep  away  from  those 
monkeys  with  the  fancy  crates;  mind  now, 
keep  that  strap  tight  or  ya  might  bail  outa 
here  an'  I  won't  have  time  t'get  under  ya!" 

"Don't  worry,"  I  said,  "I'll  keep  it  tight: 
you  just  keep  lookin'  ahead  till  I  rap  you 
some  place!" 

He  climbed  into  his  seat  and  signaled 
the  ground  man  to  turn  over  the  propeller, 
threw  in  the  switch  and  yelled  "Contact." 

With  the  motor  warmed  up  it  only  took 
a  few  turns  to  get  into  action.  A  blast  from 
the  exhaust,  and  then  a  smooth  rhythm  of 
flowing  power  as  the  motor  was  throttled 
down  told  us  it  was  hitting  smooth  and 
even. 

Heading  into  the  wind  we  raced  down 
the  field  and  lifted  off  the  ground  and 
climbed  in  circles  till  we  were  up  to  alti- 
tude and  sailed  over  toward  the  high  hills 
north  of  Hollywood  and  a  position  north 
of  the  track. 

Several  flyers  came  in  close  to  see  what 
we  were  doing,  and  I  thought,  "The  same 
old  nuisance.  All  you  have  to  do  to  draw 
a  crowd  is  to  set  up  a  motion  picture 
camera,  even  in  the  desert,  and  folks'U 
gather  'round  and  ask  if  you're  making' 
motion  pictures!"  Here  they  were  doing 
it  up  here  in  the  air.  Lieut.  Johnson  sig- 
nalled to  keep  off  for  maneuvers  and  they 
sailed  away.  I  reached  over  and  touched 
him  on  the  left  shoulder,  he  looked  around 
and  I  pointed  toward  the  track. 

The  atmosphere  was  clear  and  crisp, 
visibility  perfect,  with  light  and  shadow 
conditions  just  right.  In  a  short  few  mo- 
ments the  track  spread  out  below  us  with 
thousands  of  race  fans  gathered  and  more 
coming  from  all  directions  along  every 
road;  it  was  a  beautiful  sight.  Some  of 
the  racing  cars  were  warming  up,  spin- 
ning around  the  track;  they  looked  like 
the  little  toys  of  racers  displayed  in  win- 
dows before  Christmas.  I  ground  off  about 


16 


a  hundred  feet  of  film  and  then  signaled 
to  go  down  and  level  out  over  the  track. 

As  we  reached  the  five  hundred  foot 
level  we  heard  a  gun  crack,  looking  down 
we  saw  the  race  start.  A  wonderful  view! 
Twelve  cars,  four  abreast  in  three  lines. 
What  a  roaring  bunch  as  they  broke  away 
from  the  line,  and  what  a  jockeying  sight! 
I  swung  in  a  six  inch  lense  and  went  after 
it.  Johnson  held  the  ship  beautifully  while 
I  ground  out  several  hundred  feet  of  film 
• — just  what  we  wanted! 

I  was  using  small  magazines  to  cut  down 
wind  pressure  and  now  had  to  reload. 
While  I  did  this  Lieut.  Johnson  climbed 
up  to  altitude  again  and  flew  around  till 
I  was  ready. 

All  set,  I  looked  at  the  track  and  saw 
that  the  cars  were  now  pretty  well  strung 
out,  then  all  of  a  sudden  one  of  the  cars, 
pretty  well  back,  shot  out  and  commenced 
to  pass  cars  like  they  were  standing  still 
till  it  reached  the  three  leaders,  and  then 
a  battle  commenced  that  kept  him  in  a 
pocket;  what  a  moment! 

I  reached  over  and  touched  Johnson  on 
the  helmet  and  pointed  out  what  I  wanted 
to  get.  He  nodded — and — we  dropped — 
and — my  stomach  bounced  up  in  my  throat 
— I  thought.  At  four  hundred  feet  he  lev- 
eled out  with  my  game  right  below  me! 
Was  I  excited? 

I  was  so  excited  I  forgot  where  I  was. 
I  was  so  cramped  for  room  that  I  un- 
strapped my  belt  and  proceeded  to  crawl 
out  on  the  fuselage  so  I  could  get  the 
lens  aimed  at  the  proper  angle;  in  doing 
so,  my  left  foot  touched  Johnson's  right 
shoulder,  and  as  arranged,  he  thought  I 
wanted  him  to  bank  around  to  the  right — 
and  he  went  into  a  steep  bank — and  there 
was  I — ready  to  slip  off  the  fuselage  to 
drop  on  the  track  below.  As  I  started,  I 
made  a  wild  grab  for  the  camera  and 
reached  it  with  both  hands  and  welded 
them  to  it  in  a  grasp  that  couldn't  break 
while  I  hung  on  the  outside  of  the  fuselage 
fluttering  like  a  piece  of  cloth  in  the  wind ! 
Luckv  that  camera  had  been  fastened 
solid! 

By  the  time  Lieut.  Johnson  wondered 
why  I  didn't  signal  to  straighten  out,  he 
looked  around.  Through  his  goggles  I 
could  see  his  eyes  grow  wide,  like  small 
saucers,  and  then  we  bounced  into  an  air- 
pocket  that  almost  jerked  my  arms  out  as 
the  plane  hit  it.  I  just  hoped  I  wouldn't 
fall  on  the  track  and  get  run  over  by  one 
of  the  cars.  Silly,  what  thoughts  we  get  in 
the  midst  of  a  dangerous   situation. 

Johnson  banked  sharp  to  the  left,  throw- 
ing me  against  the  fuselage,  giving  me 
a  chance  to  crawl  closer  to  the  rim  of  the 
cockpit,  but  I  hesitated  to  dive  in  for  fear 
I'd  get  tangled  in  the  controls,  so  I  just 
laid  there  on  top  of  the  fuselage  and  hung 
on  while  he  leveled  out  for  the  field  and 
landed  and  came  to  a  stop  with  the  motor 
shut  off.  I  wish  he  had  kept  the  motor 
running  so  I  couldn't  have  heard  his  vo- 
cabulary— it  was  certainly  choice  and  orig- 
inal,  but   I   couldn't   answer;    now  that   it 


was  all  over  I  was  as  limp  as  a  rag  as  my  I  missed  the  crack-up  on  the  track,  but 

grasp  melted  off  the  camera.  prevented  another  by  hanging  on. 


NORTHWEST  NEWSREELER  ON  THE  JOB 

By  Charles  R.  Ferryman  feeding   time,   stretched   across   the   valley 

After  covering  the  dog  races  at  Ashton,  as  far  as  one  could  see,  was  a  vast  sea  of 

Idaho,  the  New  York  office  sent  me  on  to  heads,  ears  and  antlers.    The  feeding  strip 

Jackson  Hole,  Wyoming,  to  get  some  pic-  is  several  miles  long. 

tures  of  the  elk  herds  which  are  fed  each  The  hay  is  pitched  off  a  moving  horse- 
winter  by  the  United  States  Government.  drawn  sleigh.  The  elk  are  perfectly  quiet 
Over  12,000  of  these  animals  were  fed  and  contented  as  long  as  the  sleigh  keeps 
last  winter  by  the  Department  of  the  In-  moving,  but  as  soon  as  it  stops  and  a  per- 
terior.  When  the  winters  are  severe  the  son  gets  off  and  starts  to  walk  the  elk  scat- 
elk  come  down  to  these  feeding  grounds  ter  in  panic.  They  seem  to  think  that  a 
in  great  numbers  and  a  good  many  thou-  walking  man  is  their  enemy,  but  that  a 
sands   of   tons   of   alfalfa   is   required.     At  horse  and  sleigh  can  be  trusted. 


FAXOX  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night  SUnset  2-1271 


International  Photographer  for  May,  1941 


17 


S.  M.  p.  E. 

(Continued  from  page  11) 

plicable  to  single  and  multiple-channel  systems, 
both  with  and  without  pilot  control,  are  discussed. 
Particular  emphasis  is  given  to  copper  oxide- 
varistor  types  of  compressors  and  expandors,  and 
it  is  shown  how  they  can  be  used  with  vacuum 
tube-type  rectifiers  to  obtain  very  desirable  char- 
acteristics. An  expandor  has  been  produced  hav- 
ing a  remarkable  property — it  introduces  a  gain 
into  the  signal  channel  which  is  equal  to  the 
increase  of  the  current  in  the  pilot  channel.  This 
linear  relationship  holds  through  the  wide  inten- 
sity range  of  about  50  db.  In  other  words,  if  the 
electrical  power  in  the  pilot  channel  is  increased 
tenfold,  the  signal  leaving  the  expandor  is  in- 
creased tenfold.  The  current  in  the  pilot  channel 
may  be  increased  as  much  as  300  times  and  still 
t lie  signal  current  going  from  the  expandor  will 
be  increased  by  the  same  factor.  Methods  have 
been  devised  for  gradually  balancing  out  from  the 
signal  channels  any  distortion  effects  coming 
from  the  pilot   channels. 

The  Stereophonic  Sound-Film  System — 
Pre-  and  Post-Equalization  of  Compandor 
Systems;  J.  C.  Steinberg,  Bell  Telephone  Lab- 
oratories, New  York,  N.  Y. 

In  order  best  to  fit  the  volume  range  of  the 
program  material  into  the  volume  range  available 
in  sound-film,  it  is  generally  advantageous  to  pre- 
equalize  the  program  material  before  recording, 
and  to  compensate  for  the  equalization  by  means 
of  a  complementary  post-equalizer  on  reproduc- 
tion. The  type  and  amount  of  pre-equalization 
depends  upon  the  properties  of  hearing  and  on 
the  characteristics  of  the  program  material  and 
the  film  noise.  This  paper  discusses  the  relations 
between  these  quantities  for  systems  using  com- 
pandors, where  the  film  noise  varies  up  and  down 
in  level  as  the  compandor  gains  vary.  Ideally, 
different  types  of  pre-equalization  are  needed  for 
different  types  of  program  material,  and  a  com- 
promise must  be  made  if  a  single  type  is  to  be 
used.  The  considerations  leading  to  the  choice 
of  the  pre-equalization  used  in  the  stereophonic 
recording   and    reproducing   system  are   discussed. 

Electrical  Equipment  for  the  Stereophonic 
Sound-Film  System;  W.  B.  Snow  and  A.  R. 
Soffel,  Bell  Telephone  Laboratories,  New  York, 
N.   Y. 

An  electrical  system  is  described  which  permits 
the  use  of  sound-film,  with  its  limited  signal-to- 
noise  ratio,  as  a  recording  medium  for  wide-range 
stereophonic  reproduction  of  symphonic  music. 
Noise  reduction  is  accomplished  both  by  pre- 
equalization,  rising  to  18  db  above  8.000  cycles, 
and  by  automatic  signal  compression  and  expan- 
sion of  30  db. 

To  secure  maximum  suppression  of  noise  and 
freedom  from  distortion,  a  pilot-operated,  flat-top 
compandor  system  was  selected.  In  each  channel 
low  level  signals  are  recorded  on  a  separate  track 
with  constant  gain  30  db  above  normal,  which 
places  them  above  the  film  noise.  Higher-level 
signals  cause  automatic  gain  reductions  and  are 
recorded  at  substantially  full  modulation.  These 
signals  vary  the  intensity  of  a  pilot  tone,  which 
in  turn  controls  the  compressor  gain.  There  is  a 
pilot  frequency  for  each  of  the  three  channels, 
and  the  three  are  combined  and  recorded  together 
on  the  fourth  film-track.  During  reproduction 
the)  an'  separated  by  filters,  and  operate  ex- 
pandors which  restore  the  signals  to  their  original 
forms   Inn    reduce  the   noise  to   inaudible   levels. 

The  compressor  and  expandor  gains  are  made 
proportional  to  pilot  level  in  db,  and  the  ex- 
pandor ranjir  over  which  this  relation  holds  is 
45  db.  Therefore  a  15-db  variation  in  average 
pilot  level  during  reproduction  causes  a  corre- 
sponding average  level  change  but  no  distortion. 
This  is  used  to  allow  expansion  of  the  original 
signal    intensity    range    during    recording    or    re- 


recording    by    simple   gain    controls    in    the    pilot 
circuits. 

This  paper  describes  a  light-valve  incorporating 
developed  to  accomplish  these  results,  and  dis- 
cusses the  frequency,  load,  distortion,  noise,  and 
dynamic  characteristics  of  both  constant  and 
variable-gain  elements.  Also  included  are  consid- 
erations of  microphone  and  loud  speaker  arrange- 
ment and  equalization  to  secure  high  fidelity  of 
reproduction. 

A  Light-Valve  for  the  Stereophonic  Sound- 
Film  System;  E.  C.  Wente.  R.  Biddulph,  Bell 
Telephone  Laboratories.  New  York,  N.  Y. 

This  paper  describes  a  lightvalve  incorporating 
large  electromagnetic  damping  and  operating  di- 
rectly through  the  ribbon  resonance  region.  Res- 
onance response  is  only  5  db  above  low-frequency 
response  and  so  permits  easy  equalization.  A  suit- 
able equalizer  provides  uniform  string  displace- 
ment per  unit  driving  voltage  over  the  band  30- 
14,000  cycles  with  very  nearly  constant  phase- 
shift  per  cycle.  Problems  of  structure  and  size 
have  furnished  a  mechanical  design  having  sev- 
eral interesting  features,  among  which  are  me- 
chanical robustness,  protection  against  dirt  and 
moisture,  built-in  ribbon  and  optical  adjustments, 
and  an  optical  system  integral  with  the  valve  struc- 
ture, thus  permitting  rapid  replacement  of  valves 
in  the  recording  machine.  This  unit  has  proved 
a  rugged,  stable,  light-modulator  especially  free 
from  intermodulation  products. 

Internally  Damped  Rollers;  E.  C.  Wente 
and  A.  H.  Muller,  Bell  Telephone  Laboratories, 
New  York,  N.  Y. 

Special  damping  rollers,  capable  of  damping 
oscillations  of  rotating  shafts  without  adding  a 
steady  load,  were  first  devised  by  Prof.  H.  A. 
Rowland.  These  rollers  had  either  an  annular 
channel  along  the  periphery  filled  with  a  liquid, 
or  a  wheel  mounted  loosely  on  a  shaft  co-axially 
fixed  in  an  outer  shell,  the  interspace  being  filled 
with  a  liquid.  The  theory  of  the  action  of  such 
rollers  in  reducing  fluctuations  in  the  speed  of 
rotation  caused  by  disturbances  from  either  the 
load  or  the  driving  side  is  developed  and  the 
results  are  illustrated  by  graphs.  A  new  form  of 
roller  is  described  in  which  liquid  filling  an  annu- 
lar channel  within  the  shell  of  the  roller  is 
coupled  to  the  shell  by  a  mechanical  resistance. 

A  Non-Cinching  Film  Rewind  Machine; 
L.  A.  Elmer,  Bell  Telephone  Laboratories,  New 
York,  N.  Y. 

Cinching,  or  the  sliding  between  layers  of  film 
within  a  reel,  produces  scratches  and  surface 
abrasions  which  increase  the  film  noise  level. 
Cinching  is  more  likely  to  occur  in  rewinding 
than  anywhere  else  in  the  normal  usage  of  sound- 
film.  At  the  beginning  of  rewinding,  when  the 
supply  reel  is  full  and  the  take-up  reel  is  empty, 
a  small  amount  of  torque  is  needed  for  rotating 
the  take-up  reel.  Under  this  condition  the  film 
will  be  wound  rather  loosely.  When  the  supply 
reel  is  nearly  empty,  relatively  high  film  tension 
is  required  to  produce  a  given  torque  on  the 
supply  reel.  The  torque  to  be  applied  to  the 
take-up  reel  will  then  be  high,  on  account  of  both 
the  high  film  tension  and  the  large  radius  arm 
of  the  film  spiral  on  the  reel.  This  high  torque 
is  almost  certain  to  cause  cinching  in  the  loosely 
wound  bottom  of  the  reel.  The  conditions  to  be 
satisfied,  if  cinching  is  to  be  avoided,  are  ana- 
lyzed. A  power-driven  rewind  is  described  which 
meets  these  requirements.  The  film  tension  is 
controlled  by  the  weight  of  the  film  on  the  supply 
reel  at  all  times  during  the  rewind. 

The  Subjective  Sharpness  of  Simulated 
Television  Images;  M.  W.  Baldwin,  Jr.,  Bell 
Telephone   Laboratories.   New  York,  N.  Y. 

Small-size  motion  pictures,  projected  out  ol 
locus  iii  simulation  of  the  images  reproduced  by 
home  television  receivers,  are  used  in  a  statistical 
study  of  the  appreciation  of  sharpness.  Sharpness, 
in  the  subjective  sense,  is  found  to  increase  more 
and  more  slowly  as  the  physical  resolution  of  the 
image  is  increased.  Images  of  present  television 
grade  are  shown   to  be   within  a   region   of  dimin- 


ishing return  with  respect  to  resolution.  Equality 
of  horizontal  and  vertical  resolutions  is  found  to 
be  a  very  uncritical  requirement  on  the  sharpness 
of  an  image,  especially  of  a  fairly  sharp  one. 

Development  and  Current  Uses  of  the 
Acoustic  Envelope;  H.  Burris-Meyer,  Stevens 
Institute  of  Technology.  Hoboken,  N.  J. 

The  acoustic  envelope  was  developed  in  August 
of  last  year  for  Paul  Robeson.  Its  purpose  was 
to  produce  on  the  concert  stage  a  zone  in  which 
acoustic  conditions  would  approximate  those  of 
a  small,  highly  reverberant  studio.  Such  condi- 
tions were  considered  desirable  since  in  them 
the  artist  hears  himself  easily  and  makes  no 
unusual  effort  to  project.  The  lack  of  such  condi- 
tions, usually  the  case  in  the  concert  hall,  may 
lead  to  tension  and  the  technical  faults  incident 
thereto. 

The  technic  consists  in  reproducing  in  the  re- 
stricted zone  the  significant  harmonics  of  the 
voice  or  instrument.  The  area  within  which  the 
harmonics  are  audible  must  be  limited  since,  for 
concert  use,  it  is  generally  requisite  that  the  audi- 
ence hear  nothing  emanating  from  an  electronic 
device.  The  technic  has  been  employed  by  Mr. 
Robeson  in  all  his  concerts  this  season,  in  halls 
of  widely  varying  acoustic  characteristics,  accom- 
panied by  piano  and  by  full  symphony  orchestra. 
It  has  also  been  employed  experimentally  with 
full  orchestra  and  settings  on  the  stage  of  the 
Metropolitan  Opera  House;  for  a  violin  solist 
with  piano  accompaniment;  and  for  choruses  of 
over  one  hundred  voices.  It  can  be  used  without 
affecting   radio   pick-up. 

Notes  on  the  Mechanism  of  Disk  Record- 
ing and  Playback;  O.  Kornei,  The  Brush  De- 
velopment  Company,   Cleveland,   Ohio. 

A  theory  is  developed  to  explain  the  well-known 
amplitude  losses,  in  particular  of  the  upper  fre- 
quency range,  occurring  in  the  transcription  of 
lateral-cut  sound  recordings.  These  losses  may  be 
attributed  to  two  different  causes,  one  based  upon 
the  recording,  and  the  other  upon  the  playback 
process. 

The  recording  loss  is  due  to  the  effect  of  the 
mechanical  load  imposed  by  the  record  material 
upon  the  cutting  stylus.  The  influence  of  this 
cutting  load  upon  the  cutter  performance  is  dis- 
cussed briefly,  the  experimental  determination  of 
the  load  is  described,  and  an  empirical  law  for 
it  is  established. 

The  playback,  or  translation  loss,  is  caused  by 
the  elastic  deformation  of  the  sound  groove  under 
the  influence  of  the  static  and  dynamic  pick-up 
stylus  forces.  The  resulting  deviation  of  the 
stylus  excursion  from  the  actually  recorded  value 
is,  according  to  the  theory,  equal  to  the  difference 
betwen  the  lateral  components  of  the  elastic  de- 
formations at  the  convex  wall  and  the  concave  wall 
of  the  record  groove  and  can  be  calculated.  The 
playback  loss  may  be  positive,  zero,  or  even  nega- 
tive, depending  upon  the  conditions.  The  theory 
is  set  forth,  its  limitations  and  accuracy  are  dis- 
cussed, and  experiments  for  its  verification  are  de- 
scribed. Calculated  curves  are  shown  for  the 
translation  losses  to  be  expected  under  various 
conditions. 

Certain  general  conclusions  are  derived  with  a 
particular  view  to  proposed  construction  prin- 
ciples for  pick-ups  with  reduced   translation   loss. 

In  contradistinction  to  an  ideal  pick-up  with  in- 
finitely small  vertical  force  and  stylus  impedance, 
the  conditions  in  a  practical  pick-up  with  finite 
vertical  force  are  found  to  call  for  a  certain  defi- 
nite stylus  mass  and  a  low  resonance  frequency 
in  order  to  counteract  the  playback  loss  effec- 
tively. The  necessary  stylus  mass  is  found  to 
increase  with  the  vertical  pick-up  force  and  stylus 
radius   and   to   decrease   with  the   record   velocity. 

It  is  shown  that  in  systems  with  constant  rec- 
ord groove  velocity,  perfect  elimination  of  the 
translation  loss  is  possible.  In  other  systems,  the 
loss  can  not  be  avoided  completely  but  may  be 
reduced,  and  the  absolute  level  of  the  high-fre- 
quency reproduction  may  be  raised. 

Analytic  Trealment  of  Tracking  Error  and 


18 


Notes    on    Optimal    Pick-Up    Design;    H.    G. 

Baerwald,  Brush  Development  Co.,  Cleveland, 
Ohio. 

A  complete  analysis  is  given  of  a  class  of  dis- 
tortions arising  in  the  reproduction  of  lateral-cut 
disk  recordings.  These  are  due  to  the  varying 
angular  deviation  between  the  direction  of  the 
pivotal  axis  of  the  pick-up  stylus  and  the  groove 
tangent,  commonly  referred  to  as  "tracking  error." 

As  long  as  the  overall  distortion  present  in  the 
reproduction  is  moderate,  the  system  is  "almost 
linear,"  and  it  is  permissible  to  superpose  the 
different  components  of  distortion.  This  permits 
separate  treatment  of  the  tracking  error  distor- 
tions. 

In  the  simple  case  of  a  sinusoidal  signal,  the 
complete  Fourier  spectrum  of  the  pick-up  signal 
is  obtained.  For  general  signals,  an  explicit  ana- 
lytical expansion  is  obtained  for  the  picked-up 
signal. 

The  kinematical  effect  of  the  tracking  error  is 
an  alternating  advance  and  delay  of  the  picked- 
up  signal  with  respect  to  the  recorded  one.  The 
harmonic  distortions  may  thus  be  characterized 
as  side-bands  of  phase  modulation  of  the  signal 
by  itself.  Compared  with  the  ordinary  type  of 
non-linear  distortion  as,  e.  g.,  met  in  tubes,  which 
can  be  correspondingly  characterized  as  amplified 
auto-modulation,  the  spectral  distribution  of  the 
tracking  error  distortions  is  different  by  empha- 
sis on  the  higher  frequency  components.  For  the 
second-order  distortion,  which  is  the  prevalent 
type,   this  emphasis  is   proportional   to   frequency. 

The  analysis  shows  that  the  distortions  due  to 
tracking  error  are  considerably  greater  than  com- 
monly assumed,  regarding  both  their  absolute  and 
their  nuisance  value.  Some  values  given  in  the 
literature  are  more  than  50  per  cent  too  small, 
due  to  the  omission  of  rigorous  procedure.  The 
recording  characteristic  does  not  affect  the  rela- 
tion between  ordinary  type  and  tracking  distor- 
tions. The  distortion  is  given  approximately  by 
the  weighted  tracking  error  which  is  inversely 
proportional  to  the  grove  radius,  and  is  referred 
to  the  mean  groove  radius  of  the  record. 

The  pick-up  design  should  reduce  the  weighted 
tracking  error  as  much  as  possible.  The  optimal 
design  is  uniquely  determined  as  soon  as  the  type 
of  approximation  is  prescribed.  It  is  argued  that 
the  Tschebychew  approximation,  which  is  com- 
monly used  in  the  design  of  electric  wave-filters, 
is  also  adequate  for  the  present  case.  For  pick- 
ups without  offset  angle,  only  second-order  ap- 
proximation is  possible,  while  with  the  right  value 
of  offset  angle,  third  order  approximation  becomes 
possible.  In  the  first  case,  sufficiently  small  values 
of  distortion  can  barely  be  obtained  with  conven- 
tional arm  lengths,  and  in  order  to  avoid  un- 
necessary distortions,  the  pick-up  should  be  care 
fully  mounted  to  obtain  the  optimal  underhang. 
With  an  offset  arm,  distortion  can  easily  be  re- 
duced to  negligible  magnitude.  The  right  mount- 
ing is  again  fairly  critical,  while  the  optimal  offset 
angle  is  not. 

Simple  design  formulas  of  immediate  applica- 
bility are  developed  covering  the  whole  practical 
field  of  record  sizes,  speeds,  and  arm  lengths,  and 
the  effect  of  deviations  from  the  optimum  designs 
is  given.  The  magnitude  of  the  centripetal  effect 
in  offset  arms  is  also  investigated. 


Judith  Anderson  in  "Lady   Scarface" 

Judith  Anderson,  whose  brilliant  work 
in  "Rebecca"  made  her  a  nominee  for  the 
Academy  Award  to  the  best  supporting 
actress  of  1940,  has  been  signed  by  RKO- 
Radio  Pictures  to  play  the  title  role  in 
"Lady  Scarface,"  which  has  just  gone  into 
production  with  Dennis  O'Keefe  and 
Frances  Neal  in  the  romantic  leads.  Cliff 
Reid  is  producing,  with  Frank  Woodruff 
handling  the  megaphone. 


I  like  tNeim 
short 

By  Ralph  Stauh 

Short  subjects,  long  the  stepchild  of  the 
motion  picture  industry,  are  coming  into 
their  own. 

Not  only  are  they  getting  unprecedented 
shooting  schedules,  player  value  and  story 
consideration,  but  ace  cinematographers 
are  being  assigned  to  short  subject  units  to 
insure  their  continued  excellence. 

Here's  a  little  inside  information  on  the 
new  set-up  in  the  short  subject  field  which 
should  prove  illuminating  to  those  men 
and  women  whose  time  is  engaged  in  mak- 
ing movies.  When  a  man  is  allowed  to 
spend  30  days  making  a  one  reel  film 
where  previously  he  had  been  compelled 
to  get  eight  reels  of  film  in  the  can  in 
eight  days  or  less,  he  is  pretty  happy  to 
continue  making  shorts.  That's  why  I 
like  them  short. 

When  I  started  making  short  subjects, 
almost  a  decade  ago,  I  was  a  one-man 
operation,  producer,  director,  cameraman, 
actor  and  often  the  off-stage  voice  which 
explained  sequences  in  the  picture. 

Now,  back  with  Columbia  as  producer 
of  the  Screen  Snapshots,  I  have  the  pick 
of  competent  men  and  women  in  all  spe- 
cialized fields  of  movie-making  to  work 
with. 

I  left  the  Columbia  short  subject  depart- 
ment to  head  a  similar  unit  at  Warner 
Brothers  primarily  because  I  had  ambi- 
tions to  become  a  feature  picture  director. 
That  ambition  was  later  realized,  but 
sweating  blood  to  get  8,000  or  more  feet 
of  film  completed  in  less  than  eight  days 
doesn't  come  under  the  heading  of  recrea- 
tion. 

So  I'm  back  at  Columbia,  with  my  own 
unit,  most  of  the  biggest  stars  in  the  busi- 
ness to  work  with  and  thirty  days  to  make 
a  picture  which  will  run  10  minutes  on 
the  screen. 

Naturally  I  like  short  subjects.  They  not 
only  provided  me  with  my  start  in  this 
business,  but  they  also  taught  me  just 
about  everything  that  can  be  learned  about 
the  motion  picture  industry. 

It  looks  as  if  shorts  are  going  to  occupy 
an  increasingly  important  place  in  the 
cinema  sun.  Not  only  are  they  testing 
grounds  for  stars,  or  experimental  labora- 
tories for  technical  improvements  in  all 
fields  of  the  movie  industry,  but  they  are 
getting  longer  runs,  increased  attention 
from  theater  men. 

The  shorts  are  probably  important  to 
every  specialized  unit  in  a  studio.  They 
provide  cameramen  with  opportunities  of 
testing  innovations;  they  give  directors  a 
chance  to  test  new  theories  and  the  allow 
little  known  players  an  occasion  for  trying 
their  wings. 

I  like  them  short. 


Ralph  Staub 


"A  Yank  in  the  R.A.F." 

Betty  Grable.  who  has  been  climbing  the 
movie  ladder  at  a  fast  clip  in  recent 
months,  will  co-star  with  Tyrone  Power  in 
"A  Yank  in  the  R.  A.  F."  which  Darryl 
F.  Zanuck  will  produce  for  20th  Century- 
Fox  as  one  of  his  costliest  films  of  the 
year. 

Henry  King  will  direct  the  film  under 
the  associate  producership  of  Lou  Edel- 
man.  The  British  Air  Ministry,  the  R.A.F. 
and  the  British  Air  Commission  are  co- 
operating with  Zanuck  and  some  of  the 
footage  will  be  shot  by  R.A.F.  pilots  over 
Germany,  France  and  England. 


Gene  Tierney  Gets  Title  Role 
in  "Belle  Starr" 

Gene  Tierney,  acclaimed  by  critics  as  one 
of  Hollywood's  most  promising  young 
actresses,  was  selected  by  Darrvl  F.  Za- 
nuck to  play  the  title  role  in  "Belle  Starr," 
drama  of  the  most  colorful  feminine  out- 
law in  history,  which  20th  Century-Fox 
will  film  in  Technicolor. 

This  culminates  a  search  which  has  held 
back  production  for  a  year,  during  which 
forty-seven  actresses  were  tested.  Her  se- 
lection follows  close  upon  her  fine  per- 
formance as  El  lie  May  in  "Tobacco  Road." 
The  importance  of  "Belle  Starr,"  in  which 
she  will  share  honors  with  Randolph  Scott, 
is  expected  by  the  studio  to  raise  her  to 
stardom  in  her  own  right. 


International  Photographer  for  May,  1941 


19 


l6lVIM.  dEpARTMENT 


WHAT  SHOULDN'T  I  DO? 

Many  amateurs  with  whom  we  have 
spoken  have  put  the  question,  "What  am  I 
doing  now  that  I  shouldn't  be  doing?"  and 
point  to  a  strip  of  film  that  is  a  failure. 
Others,  when  pointed  out  that  a  failure  is 
due  to  a  violation  of  a  fundamental  rule  of 
photography,  counter  with,  "But  I've  seen 
pictures  made  by  people  who  claimed  they 
broke  every  rule  in  photography  making 
that  scene." 

It  may  be  true — in  fact,  it  undoubtedly 
is  true — that  some  very  successful  shots 
have  been  made  by  breaking  some  of  the 
"rules"  of  photography.  But  "rules"  must 
be  broken  by  experts — professional  or 
amateur — who  know  how  to  break  them, 
why  they  are  breaking  them,  and  aren't 
breaking  them  just  to  be  breaking  a  rule, 
but  have  some  definite  idea  in  mind  that 
can  be  executed  only  by  the  breaking  of  a 
certain  rule,  or  rules.  It's  like  an  ambu- 
lance racing  down  the  street  at  a  break- 
neck speed  in  an  attempt  to  get  an  ailing 
patient  to  the  hospital  in  time  to  help  him. 
He  is  breaking  the  speed  laws  and  many 
other  driving  laws  for  a  definite  reason, 
with  an  objective  in  mind.  And  yet,  if  we, 
as  ordinary  motorists,  raced  down  the 
streets  at  that  speed,  we  might  find  our- 
selves in  the  clutches  of  the  law. 

One  of  the  most  common  mistakes  en- 
countered (unless  you  have  a  "coated" 
lens )  is  the  one  of  shooting  without  a  lens 
hood.  This  sounds  trivial,  and  many  people 
will  point  out  that  they've  made  some  very 
good  pictures  without  it.  A  lens  hood  is 
NOT  trivial,  as  we  will  point  out  in  a 
moment,  and  while  some  good  pictures  may 
have  been  made  without  it,  tbese  pictures 
could  have  had  an  improved  clarity  and 
definition  had  the  hood  been  used.  Even 
when  there  is  no  direct  sunlight  hitting  the 
lens,  the  light  hitting  it  from  an  open  sky, 
or  reflected  from  a  glaring  sidewalk  or 
street  will  be  accepted  by  the  lens'  outer- 
most component  and  will  be  dispersed,  re- 
flected, and  refracted  within  the  compo- 
nents of  the  lens  and  will  finally  reach  the 
film  as  an  overall  haze.  The  extent  of  the 
haze  will  depend  on  the  strength  of  the 
light  hitting  the  lens  and  the  characteris- 
tics of  that  particular  lens.  Some  lenses 
will  offend  more  than  others.  If  direct  sun- 
light should  hit  the  lens  a  "flare"  will  lie 
set  up  in  addition  to  this  haze.  We  are 
all  familiar  with  the  haze  that  appears  on 
an  object  if  we  attempt  to  look  at  it  when 
the  sunlight  is  hitting  our  eyes,  even  when 
the  sun  is  ;il  quite  an  angle.  It  is  the  same 
in  a  lens.  Except  that  there  are  more  ele- 
ments in  a  camera  lens  to  aggravate  the 
condition.  This  defect  in  lenses  has  been 
overcome  by  the  coating  recently  developed 
foi  that  express  purpose,  but  unless  your 
lens  is  coated  a  lens  hood  is  a  MIST.    And 


even  with  the  coating,  the  lens  hood  is  still 
desirable. 

Another  common  fault  amateurs  are 
guilty  of  so  frequently  is  panning  too  fast. 
We  probably  should  have  even  said  just 
panning.  To  begin  with,  the  less  panning 
in  a  scene,  the  better.  Panning  should  be 
used  ONLY  when  absolutely  necessary, 
such  as  when  following  action.  A  land- 
scape should  never  be  panned;  it  should  be 
broken  up  into  individual  scenes.  If,  for 
any  reason,  it  is  panned,  it  should  be  done 
slowly.  And  smoothly-  In  panning  rapidly 
the  individual  frames  are  blurred,  due  to 
the  movement  of  the  camera  not  having 
been  stopped  by  the  shutter,  and  this  blur 
will  reproduce  on  the  screen.  When  fast 
moving  action  is  photographed,  obviously 
the  moving  object  followed  will  be  sharp, 
and  the  fast  moving  background  is  blurred. 
But  in  this  case  the  blur  actually  adds  to 
the  value  of  the  scene  because  it  gives  the 
added  feeling  of  speed. 

While  on  the  subject  of  pans,  a  word 
about  lenses.  A  lens  having  a  compara- 
tively short  focal  length  should  be  used. 
Lenses  of  long  focal  lengths  take  in  only 
a  small  part  of  the  landscape,  and  while 
the  speed  of  the  pan  may  be  slow  enough 
it  will  photograph  much  faster.  This  phe- 
nomenon can  best  be  illustrated  by  an  ex- 
ample of  an  automobile  traveling,  let  us 
say,  70  miles  an  hour.  If  we  are  close  to 
a  certain  lamp  post,  and  watch  it  as  it 
passes  this  lamp  post,  it  will  appear  to  be 
fairly  flying  by.  If,  however,  we  are  watch- 
ing a  whole  scene,  a  little  distance  from 
the  road,  and  watch  this  car  driving  down 
the  street,  it  will  seem  to  be  going  rather 
slowly.  Now,  if  the  scene  we  are  photo- 
graphing is  being  made  with  a  short  focal 
length  lens,  we  will  have  a  wide-angle  of 
acceptance  and  include  a  large  part  of  the 
landscape,  a  situation  comparable  to  the 
one  where  we  were  watching  the  automo- 
bile driving  down  a  long  stretch  of  street. 
If,  however,  and  by  leaving  the  camera  in 
its  same  position,  we  place  a  long  focal 
length  lens  on  the  camera,  this  lens  having 
the  narrow  angle  of  acceptance  characteris- 
tic of  them,  will  merely  see  the  lamp  post 
we  mentioned.  And  when  the  car  goes  by 
it  will  appear  to  be  whizzing  by.  ANY 
movement  is  exaggerated  by  a  telephoto 
I  long  focal  length)  lens,  and  panning  with 
a  lens  of  this  type  will  exaggerate  any 
minute  inequalities  of  the  movement  of  the 
camera  and  make  it  appear  jerky.  This 
would  pass  unnoticed,  and  be  indiscernible 
when  the  shorter  focal  length  lens  is  used. 

True,  there  are  times  when  a  very  fast 
pan  across  a  certain  scene,  with  the  result- 
ant blur  that  ensues,  can  be  the  height  of 
a  dramatic  effect;  or  it  can  form  an  excel- 
lent means  for  a  transitional  effect,  but  this 
must  be  used  knowingly,  at  the  right  time, 
and  in  the  right  place. 


Another  difficulty  we  have  seen  with 
amateur  films  is  the  lack  of  proper  length 
of  scenes.  While  we  expect  to  go  into  this 
very  important  subject  at  a  later  date  and 
devote  the  entire  article  to  it,  a  few  words 
here  are  in  order. 

Many  enthusiasts  will  merely  point  a 
camera  and  shoot  an  undetermined  amount 
of  film,  regardless  of  the  subject.  The  re- 
sult is  that  many  scenes  that  should  rate 
no  more  than  five  or  six  feet  of  16  mm. 
footage  are  dragged  out,  and  when  they  are 
viewed  on  the  screen  the  interest  will  lag 
after  this  five  or  so  feet  has  passed.  When 
a  succession  of  scenes  of  this  nature  are  put 
into  a  picture,  the  result  is  a  boring  film. 
Yes,  an  editorial  job  can  remedy  the  situa- 
tion, but  more  frequently  than  not  the  en- 
tire footage  is  included  in  the  finished  pic- 
ture. True,  they  might  hold  a  certain  fas- 
cination for  us  because  they  represent  a 
record  of  something  that  might  be  of  great 
personal  interest.  In  which  case  the  un- 
necessary footage  is  quite  justified — pro- 
vided we  keep  that  film  for  our  own  per- 
sonal purpose.  But  as  a  picture,  something 
we  can  show  to  others  and  keep  their  inter- 
est, it  will  be  a  failure. 

On  the  other  hand  many  an  abortive  shot 
is  the  result  of  just  shooting  a  few  feet, 
either  to  conserve  film,  or  because  the  im- 
portance of  the  scene  and  the  interest  it 
could  hold  has  not  been  given  due  consid- 
eration. When  scenes  of  this  nature  are  put 
together  in  a  finished  film  the  result  is  a 
meaningless  hodge-podge  that  becomes  so 
confusing  that  interest  lags  after  the  first 
few  minutes  of  running. 

And,  in  closing,  another  important  thing 
that  shouldn't  be  done:  Don't  shoot  with 
the  camera  in  the  hands,  unless  a  tripod  is 
entirely  impractical.  And  when  this  is  the 
case  don't  use  a  long  focal  length  lens,  for 
reasons  already  mentioned.  The  key-note 
of  modern  cinematography  in  all  of  its 
phases  is  smoothness.  And  shooting  with- 
out a  tripod  is  not  conducive  to  the  achieve- 
ment of  this  goal. 

Light-Plane  Engine  Manufacturer 
Sponsors  Aviation  Photo  Contest 

That  the  fast-growing  aviation  industry 
recognizes  the  wide-spread  interest  in  ama- 
teur photography  is  indicated  in  a  snap- 
shot contest  conducted  each  month  by  "The 
Lycoming  Star,"  monthly  publication  of 
the  Lycoming  Division  of  Aviation  Manu- 
facturing Corporation,  manufacturers  of 
aircraft  engines  and  propellers,  in  Wil- 
liamsport,  Pennsylvania. 

The  contest  is  open  to  all  readers  of 
"The  Lycoming  Star,"  whether  or  not  they 
are  affiliated  with  aviation.  Every  entrant 
is  presented  with  a  gold-plated  Lycoming 
wing  lapel  emblem  and  the  winner  of  each 
month's  competition  receives  a  check  for 
$5.00.  At  the  end  of  the  year  the  monthly 
prize-winning  snapshots  will  be  judged  for 
a  grand  prize  of  $25.00  which  is  to  be 
awarded  the  photograph  voted  the  best  of 
the  year. 

A  wide  variety  of  aviation  scenes  are  re- 
ceived each  month,  for  the  only  stipulation 


20 


They  Sxy* 

By  RELLA 

•  George  Browne,  President  of  the  IATSE, 
sits  with  IA  delegates  and  visiting  IA 
brothers  at  all  A.  F.  of  L.  Conventions, 
thus  establishing  a  custom  seldom  followed 
by  any  IA  presidents. 

•  Hal  Mohr  back  at  General  Service,  this 
time  with  Edward  Small  Productions,  and 
of  course  his  good  man  Friday,  Len  Pow- 
ers, will  be  with  him. 

•  The  independent  field  is  coming  to  life. 

•  The  unusual  amount  of  pictures  being 
photographed  in  Technicolor  at  the  present 
time  point  to  the  fact  that  color  is  on  the 
march. 

•  Charles  Van  Enger  working  at  Univer- 
sal, where  it  appears  he  has  a  permanent 
berth. 

•  Harry  Neumann  moving  from  Mono- 
gram to  Republic,  with  Mack  Stengler  cov- 
ering for  him  at  Monogram. 

•  Marcel  Grand  doing  very  nicely  after 
an  appendectomy. 

•  Harry  Jackson,  first;  Henry  Imus  and 
Henry  Kruse,  assistants,  off  to  Havana, 
Cuba,  for  backgrounds  for  Twentieth  Cen- 
tury Fox. 

•  Leon  Shamroy  resting  after  completing 
"Miami"  for  Twentieth  Century  Fox.  Sham- 
roy has  been  going  at  a  furious  pace.  Col- 
laborating with  him  on  "Miami"  was  ge- 
nial Allen  Davey. 

made  in  the  contest,  is  that  entries  in  some 
way  convey  the  thought  of  "power  by  Ly- 
coming." 

Judges  in  "The  Lycoming  Star"  Snap- 
shot Contest  are  Frank  J.  Gilloon,  in 
charge  of  World  Wide  Photos,  New  York 
Times,  Cavio  F.  Sileo,  head  of  Interna- 
tional News  Photos  and  Stanley  A.  Hed- 
berg,  Director  of  Public  Relations  of  the 
Aviation  Manufacturing  Corporation  and 
former  news  photo  editor  of  Associated 
Press  Photo  Service. 


©  James  Manatt  finally  got  away  to  Ocala, 
Florida,  where  he  will  shoot  stills  on  the 
MGM  production,  "Yearling." 

•  Many  of  the  members  of  Local  659  have 
received  their  photographic  rating  from 
the  United  States  Civil  Service  Commis- 
sion. It  seems  that  659  passing  at  one  hun- 
dred per  cent  rate  so  far. 

•  George  Krainukov,  who  has  been  a 
newsreel  cameraman  in  the  Orient  for 
many  years  and  now  is  visiting  in  this 
country,  tells  the  wierdest  stories  of  the 
sense  of  honor  of  Mongolian  bandits.  For 
instance,  one  time  when  he  was  kidnapped, 
instead  of  taking  all  his  money  away  from 
him,  they  bargained  with  him  as  to  how 
much  he  should  pay,  and  when  the  sum 
finally  was  agreed  upon  they  allowed  him 
to  pay  the  ransom  fee  set  and  then  depart. 

•  Irby  Koverman  covering  a  Fox  Movie- 
tone for  A I  Brick,  whose  sudden  departure 
to  parts  unknown  still  remains  a  mystery. 

•  Mervin  Freeman  making  shorts  for  Pete 
Smith,  with  Marge  Freeman,  his  charming 
wife,  receiving  credit  as  co-director. 

•  Mr.  and  Mrs.  Sam  Rosen  expecting  a 
blessed  event. 

•  Special  effects  in  "Citizen  Kane"  recom- 
mended for  some  kind  of  special  award. 

•  Duke  Green  hunting  locations  in  the 
Ozark  Mountains  for  Twentieth  Century 
Fox  Productions. 

•  Bud  Fisher,  now  with  Sersen's  Depart- 
ment at  20th  Century-Fox  Studio,  and  who 
was  formerly  head  of  the  Camera  Depart- 
ment at  that  studio,  managed  the  20th  Cen- 
tury basketball  team  which  won  the  A.A.U. 
national  championship  for  1941. 

•  Roy  Hunt,  First  Cameraman  at  R.K.O. 
and  now  photographing  a  parachute  pic- 
ture, was  a  photographer  in  the  British 
Army  under  the  Department  of  the  Minis- 
try of  Information  in  World  War  No.  1. 

•  Harold  Smith,  Business  Representative, 
Local  695,  probably  is  boasting  that  he  is 
the  father  of  a  draftee  for  the  year  1965. 

•  Larry  Kairns,  assistant  cameraman, 
RKO,  is  father  of  a  seven  pound  nine 
ounce  boy. 


GOERZ 


Landers  Camera  Rentals 

CAMERA   RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

DAY PHONES NIGHT 

NEW  ADDRESS 

Hillside       a -j  7  t  n    i  a  HEmpstead 

0373  De  Longpre  Ave. 

8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


KINO-HYPAR 
LENSES 

i       f:2.7  and  f:3 

f  for  regular  and  color 
movies  of  surprising 
quality.  High  chromatic 
correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be 
in  suitable  focusing  mounts  to  Amateu 
Professional  Movie  Cameras. 


fitted 
r   and 


COERZ   Reflex   FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free   FOCUSER 
and    FIELD    FINDER    CONTROL 

for  Filmo   121    and  Simplex-Pockette,   no   more 
off-center  pictures,  magnifies  4  and  8x. 

For   Detailed    Information    Address 
Dppt.  IP  5 

C.  P.  Coerz  American  Optical  Co. 

317   East  34th  St.,   New  York  [ 

American    Lens    Makers    Since     1899 


tor  SPEED  GRAPHIC 
OWNERS  only! 

SUPER 
SPEEDFLASH  SHOTS 

Are  Easy  With 

SISTOCUN! 

Here's  an  instrument  designed  by  news  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3V4  x  ^lA  and  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at  1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  for  those  who  want  real 
action  FLASH  PICTURES— at  SUPER  SPEEDS! 
Price  $12.00. 

THE  KALART  COMPANY  INC. 


Dept.  1-5 


619   TAFT   BLDC. 


HOLLYWOOD,  CALIF. 


KALART 


International  Photographer  for  May,  1941 


21 


TRfl  DEUJinDS 


Graflex  Opens  West  Coast  Office 

Increased  demands  for  Graflex-made  photogra- 
phic products  on  the  west  coast  have  resulted  in 
the  establishment  of  the  Western  Division  of  The 
Folmer  Graflex  Corporation.  Located  at  3045  Wil- 
shire  Boulevard,  Los  Angeles,  the  new  division 
will  serve  Graflex  dealers  in  California.  Oregon, 
Washington,  Idaho,  Montana,  Utah,  Nevada, 
Wyoming,  Colorado,  Arizona,  New  Mexico,  and 
El   Paso  County  in   Texas. 

The  Graflex  Western  Division  is  housed  in  a 
beautifully  designed,  modern  building  in  the 
heart  of  one  of  Los  Angeles'  finest  shopping  dis- 
tricts. The  main  floor  of  the  new  Graflex  head- 
quarters is  devoted  to  display,  stock  and  shipping 
rooms.  The  offices  for  the  Western  Division  are 
located  on  a  mezzanine  floor.  The  second  floor  is 
devoted  entirely  to  service,  mechanical  and  repair 
departments. 

In  charge  of  the  Graflex  Western  Division  will 
be  Robert  G.  Weber,  Western  Sales  Manager  who 
is  already  well  known  to  Graflex  dealers  on  the 
coast.  John  E.  Butler,  Controller  is  in  charge  of 
the  offices,  and  Irving  Jacobson  is  Service  Man- 
ager. 

The  Folmer  Graflex  Corporation  cordially  in- 
vites all  its  friends  to  visit  its  Pacific  Coast  home 
in  Los  Angeles. 

Wabash  Lamps  Dry  Negatives  by 
Infra-red 

A  new  way  of  speed  drying  negatives  with  infra- 
red heat  energy  is  provided  by  the  new  "sealed- 
silver"  heat  lamp  put  out  by  the  Wabash  Photo- 
lamp  Corporation,  Brooklyn,  N.  Y.  The  lamp, 
which  transmits  heat  by  radiation  of  infra-red 
rays,  has  its  own  built-in  reflecting  unit  in  the 
form  of  a  solid  pure  silver  lining  sealed  inside 
the  bulb.  This  permits  concentration  of  its  radiant 
heat  energy  exactly  where  wanted  and  eliminates 
the  need  for  a  separate  reflector. 

The  infra-red  heat  radiations  the  lamp  develops 
have  uncanny  penetrating  ability.  When  directed 
at  a  wet  negative,  they  penetrate  through  to  the 
base  of  the  film  and  start  the  drying  process 
from  within,  thus  cutting  down  drying  time  to  a 
mere  fraction  of  the  former  time. 

In  use,  the  wet  negative  is  suspended  between 
two  Birdseye  heat  lamps  placed  about  two  feet 
apart.  An  electric  fan  is  then  placed  behind  the 
negative  to  send  a  flow  of  air  across  the  path 
o  f  the  rays  on  each  side  of  the  film.  With  this 
set-up,  the  film  will  be  bone-dry  in  from  1M- 
to   2   minutes. 

Old  negatives  that  have  been  ruined  by  water- 
marks caused  by  improper  drying  can  be  re- 
stored by  resoaking  them  for  about  30  minutes 
in  a  suitable  "wetting"  solution,  rinsing  them  in 
water,  and  then  drying  with  radiant  heat  lamps. 
The  lamps  can  also  be  used  in  the  same  manner 
for  drying  photographic  prints,  and  in  many 
commercial  applications  such  as  for  drying  pho- 
tographic  solutions  painted  on  glass.  During  the 
hoi  summer  months  especially,  when  solutions 
practically  will  not  dry  at  all  unless  in  an  air- 
conditioned  room,  infra-red  lamps  do  the  work 
in  a  few  minutes. 

In  all,  three  new  Birdseye  infra-red  lamps  are 
announced.  Two  are  clear,  for  use  with  standard 
reflectors,  but  the  third  is  the  sealed-silver  type. 
All  are  guarantied  for  6.000  hours  average  life. 
Bulletin  No.  121 15.  describing  the  use  of  infra- 
red licit  lamps  generally,  can  be  had  by  writing 
the     Wabash     Photolamp     Corporation,     Brooklyn, 

N.  Y. 


Bardwell  &  McAlister's  new  "Single  Broad" 
with  barn  door  accessory,  which  eliminates 
the  use  of  Soboe's  which  the  manufacturer 
states  facilitates  faster  shooting  and  better 
pictures  by  positive  control  of  light.  The 
other  accessory,  the  low  bracket,  permits 
placing  the  lamp  at  any  height  from  eight 
and   a   half   feet   to  as  low  as  one  foot. 


News  Picture  Competition 

Announcement  of  the  results  of  the  Sixth  Na- 
tional News  Picture  Competition  conducted  by 
Editor  &  Publisher  reveals  another  prize-winning 
record  for  the  men  using  Graflex  and  Speed  Gra- 
phic cameras.  All  five  of  the  prize-winning  pic- 
tures, and  all  but  one  of  the  pictures  receiving 
Honorable  Mention,  were  made  with  these  Amer- 
ican-made cameras. 

In  accordance  with  its  yearly  custom,  The 
Folmer  Graflex  Corporation  presented  the  Gra- 
flex Award  for  the  year's  outstanding  press  pho- 
tography— a  diamond-studded  gold  watch  charm 
— to  each  of  the  following:  First  Prize- Winner, 
Borrie  Kanter  of  the  Chicago  Times  for  his  pic- 
ture "It  Shouldn't  Happen  Here";  Second  Prize- 
winner, Clarence  Albers  of  the  New  York  Jour- 
nal and  American  for  his  picture  "Custody 
Flight":  Third  Prize-Winner,  Samuel  Myers  of 
Hide  World  Photos  for  his  picture  "Hollings- 
head  Fire";  Fourth  Prize-Winner,  Michael  Con- 
verse of  the  San  Jose  (Calif.)  Mercury  Herald 
for  Ins  picture  "The  Thrill  is  Gone";  and  Fifth 
Prize-Winner,  Hy  Peskin  of  the  New  York  Mir- 
ror  for  his  picture  "Kill  the  Ump!" 

Added  laurels  for  users  of  Graflex-made  cam- 
eras were  won  in  the  1941  New  York  Press  Pho- 
tographers' Association  Annual  Photo-Exhibit 
where  14  out  of  the  15  winning  pictures  were 
made  with  these  cameras — and  in  the  1941  Pitts- 
burgh Press  Photographers  Association  News  Pix 
Exhibit  where  all  L5  winning  pictures  were  made 
with  Graflex  or  Speed  Graphic  cameras. 


Bell  &  Howell  "Oscillatory  Stabilizer" 

Bell  &  Howell  announce  a  new  device  which  is 
said  to  eliminate  completely  all  audible  trace  of 
sound    "flutter." 

"Isolation,"  says  B  &  H,  "is  the  answer.  With 
the  oscillatory  stabilizer  we  have  completely  iso- 
lated the  stop-and-go  film  movement  from  the 
sound  drum.  Thus  no  variations  in  film  speed 
ever  reach  the  scanning  beam,  where  the  sound 
is  'taken  oft"  the  film,  and  'flutter'  is  eliminated." 

The  announcement  goes  on  to  explain  that  as 
the  film  leaves  the  usual  second  sprocket,  it 
passes  through  the  new  oscillatory  stabilizer, 
where  any  remaining  irregularities  in  film  flow, 
no  matter  how  minute,  are  first  reduced  to  a  still 
lower  degree  and  are  then  completely  absorbed 
from  the  film  flow  by  an  oscillatory  movement  op- 
erating on  the  principle  that  opposing  forces  that 
are  equal,  cancel  each  other.  Thus,  it  is  claimed, 
only  a  constant,  even  flow  of  film  can  reach  the 
sound  drum  and  the  scanning  beam.  B  &  H  claim 
that  in  this  manner,  the  cause  of  sound  "flutter" 
is  killed  at  the  source,  and  that  Filmosound  re- 
production of  music  and  the  spoken  word  reaches 
the  ear  with  a  new  fidelity,  smooth  and  even  to  a 
degree  hitherto  unknown. 

The  oscillatory  stabilizer  is  patented  and  is 
available  exclusively  on  Bell  &  Howell  Filmo- 
sounds. 

For  further  information,  write  to  the  Bell  & 
Howell  Company,  1801  Larchmont  Avenue,  Chi- 
cago, Illinois. 

Bardwell  &  McAlister  "Single  Broad" 

Bardwell  &  McAlister,  Hollywood  lamp  manu- 
facturers and  well  known  for  their  widely  used 
"Baby  Keg  Lite"  and  the  "Dinky  Inkie,"  are  now 
placing  on  the  market  a  new  lamp  called  the 
"Single  Broad."  The  manufacturers  announce  the 
same  high  standard  of  engineering  and  workman- 
ship as  found  in  the  previous  models.  This  new 
"Single  Broad"  was  designed  primarily  as  a  filler 
light.  It  uses  either  a  500  watt,  T-20  clear  C-13 
medium  bipost,  3200  degrees  K  and  C.P.,  3380 
degrees  K,  or  a  750  watt,  T-24  Clear  C-13  medium 
bipost,  3200  degrees  K  or  C.P.  3380  degrees  K. 
The  new  unit  lists  for  $45.00  complete  with  double 
riser  stand  with  folding  legs  and  25  feet  of  high 
quality  rubber  cable. 

Kalart   Speed  Flash  Contest  Winners 

By  using  the  Speed  Flash  for  pictures  form- 
erly attempted  with  studio  lights  or  sunlight,  pho- 
tographers are  finding  that  they  capture  the  spon- 
taneity of  action  and  expression  as  well  as  per- 
mitting a  greater  depth  of  field. 

The  winners  in  the  recently  conducted  Kalart 
Speed  Flash  contest  are:  Truman  B.  Gordon,  Oil 
City,  Penn.,  first  prize;  Nathaniel  Field,  Brook- 
lyn, N.  Y.,  second;  William  C.  Eckenberg,  New 
York,  third;  Miss  Freida  Zylstra,  Chicago,  fourth; 
Mrs.  M.  Hatry,  New  York,  fifth;  William  Ter- 
zian,  Almhurst,  L.  I.,  sixth;  A.  E.  Hallowell,  Up- 
per Darby,  Penn.,  seventh;  George  L.  Bewley, 
eighth;  F.  H.  Ragsdale,  Los  Angeles,  ninth,  and 
on  through  a  list  of  thirty-four  other  winners. 


New  Kodak  Data  Book 

•  A  new  Kodak  Data  Book,  containing  exten- 
sive information  on  the  making  of  Kodachrome 
and  black-and-white  slides,  is  announced  by  the 
Eastman   Kodak   Company,  Rochester. 

The  book  will  have  special  interest  to  educa- 
tors, scientific  men,  and  commercial  workers,  as 
well  as  amateur  photographers.  Price  of  the  new 
"Kodak  Data  Book— Slides  and  Transparencies," 
is  25  cents. 

(Continued  on  page  2H) 


22 


KODATRON  SPEEDLAMP 

^■laAit  QteeyU  Motion 


THE  girl  in  the  illustration  above  was  caught 
in  one  phase  of  a  whirl  of  fast  dance  routine. 
No  human  motion  is  too  fast  for  this  lamp. 
Models  need  not  be  posed,  but  may  be  caught 
in  the  rehearsal  of  a  bit  of  action  and  "'froz;en1'' 
with  wire-sharp  definition.  The  light  provided 
by  the  Kodatron  Speedlamp  flash  is  so  power- 
ful that  exposures  must  be  made  with  small 
diaphragm  openings,  insuring  depth  of  field. 


EFFICIENCY  AND  ECONOMY  OF  OPERATION 

The  Kodatron  Speedlamp  uses  very  little  current  and 
its  gas-filled  flash  tube  is  good  for  over  5,000  fully  efficient 
flashes  before  replacement  is  necessary.  No  special  wiring 
or  fusing  is  required  for  this  lamp.  Shutter  synchroniza- 
tion is  simple.  A  50-watt  lamp  within  the  flash  tube  gives 
a  preview  of  the  light  balance  on  the  subject. 
Kodatron  Speedlamp  complete,  including  power 
unit,  one  Kodatron  Flash  Tube,  18-inch  reflector, 
telescoping  standard,  and  synchronizer  cord  .  .  .     $400 
Kodatron  Flash  Tube  (replacement) 30 


Descriptive  circular  will  be  gladly  supplied  on  request 


EASTMAN   KODAK  COMPANY,  Rochester,  N.  Y. 


International  Photographer  for  May,  1941 


23 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


T  €  L  £  V 


For  years  leading  radio  inventors  of  many 
lands  have  matched  their  wits  to  conquer 
the  problem  of  static  and  other  unwanted 
noises  that  mar  radio  reception.  Among 
these  men  was  Major  Armstrong,  who 
tackled  the  problem  back  in  1915  and  who 
today  gives  us  one  of  his  greatest  inven- 
tions— Frequency  Modulation. 

But  just  what  is  Frequency  Modulation? 
To  answer  as  simply  and  briefly  as  pos- 
sible, it  is  a  new  system  of  radio  broad- 
casting. Radio  signals  are  carried  by 
waves  which  have  the  properties  of  ampli- 
tude, the  height  of  the  wave,  and  frequen- 
cy, which  is  the  length  of  the  wave.  The 
conventional  type  of  broadcasting  changes 
the  amplitude  or  height  of  the  wave, 
whereas  Frequency  Modulation  alters  the 
frequency,  leaving  the  height  alone.  Since 
static,  including  both  man-made  and  nat- 
ural, affects  only  the  amplitude  or  height 
of  the  radio  wave,  not  its  frequency,  such 
static  is  absent  in  Frequency  Modulation. 
But  there  is  another  great  advantage! 

Imagine,  if  you  will,  that  you  are  listen- 
ing to  a  Frequency  Modulation  program. 
An  orchestra  is  playing.  Each  note  comes 
across  the  miles  as  if  you  were  sitting  in 
the  very  studio  with  the  orchestra.  The 
upper  ranges  of  the  violins  are  clear.  Each 
tone  reaches  your  ear  with  startling  real- 
ism. 

A  musician  taps  the  triangle;  its  "ting" 
comes  through  with  startling  clarity.  Be- 
tween selections  the  station  is  so  quiet  that 
you  hardly  can  believe  your  set  is  turned 
on.  Voices  and  music  ring  against  this 
silent  background  with  a  new  warmth  and 
richness. 

The  announcer  whispers,  and  you  start 
at  his  nearness.  A  match  strikes;  you  can 
hear  it  crackle.  You  can  even  hear  the  in- 


BLITZKREIG  IN  RADIO! 
By  R.  P.  Daugherty 

take  of  breath  as  a  cigarette  is  lit.  In 
fact,  Frequency  Modulation  is  so  life-like 
you  feel  you  can  almost  reach  out  and 
shake  hands  with  the  announcer. 

Also,  if  you  live  in  a  small  town  away 
from  the  main  centers  of  population,  you 
probably  know  what  happens  when  eve- 
ning comes.  Distant  stations  begin  to  creep 
in  on  your  dial,  bringing  with  them  cross- 
talk and  other  forms  of  interference  that 
at  times  becomes  almost  unbearable.  Here 
again,  Frequency  Modulation  is  the  solu- 
tion. 

This  new  form  of  radio  transmission  has 
the  characteristic  whereby  the  stronger  of 
two  radio  signals  predominates.  You  hear 
one  or  the  other,  but  not  both.  For  in- 
stance, so  sharp  is  the  distinction  between 
the  two  F  M  stations  that  you  can  drive 
from  one  town  to  another  with  an  F  M 
receiver  in  your  car  and  at  one  definite 
location  you  will  magically  stop  hearing 
one  station,  only  to  have  it  replaced  by 
the  other,  without  even  retuning  the  re- 
ceiver! 

Frequency  Modulation  therefore  makes 
possible  the  use  of  hundreds  of  new  broad- 
casting stations.  Many  small  towns  can 
have  their  own  broadcasting  studios,  offer- 
ing programs  of  superb  fidelity  and  of 
local  interest,  and  unbothered  by  other 
stations. 

Numerous  stations  are  already  operating 
with  this  new  form  of  transmission,  more 
are  authorized  for  construction — and  an 
increasing  number  of  applications  are  be- 
ing received.  In  fact,  many  existing  radio 
stations  are  seeking  permits  to  use  this 
new    broadcasting    medium.     Newspapers, 


too,  are  entering  the  field.  The  new  appli- 
cants come  from  virtually  all  sections  of 
the  country.  At  this  writing,  forty-three 
stations  have  already  been  authorized  for 
commercial  F  M  operation. 

Since  Frequency  Modulation  programs 
cannot  be  received  on  present  radio  models 
this  new  system  promises  a  great  amount 
of  activity  ahead  in  the  radio  industry. 
While  naturally  the  change-over  into  Fre- 
quency Modulation  could  not  be  made  over 
night,  in  view  of  the  some  thirty-odd  mil- 
lion radio  receivers  in  this  country — there 
is,  however,  already  a  surprising  amount 
of  activity  in  the  production  end. 

A  number  of  manufacturers  already  have 
Frequency  Modulation  receivers  on  the 
market,  and  it  is  estimated  there  are  sev- 
eral thousand  receivers  already  in  use. 
The  prices  of  the  sets  range  from  $60.00 
for  small  table  models  to  several  hundred 
for  the  larger  high-fidelity  combination 
models.  As  more  sets  are  sold,  this  price 
range  will  of  course  be  reduced. 

To  avoid  any  possibilty  of  undue  obso- 
lescence, it  is  said  that  a  number  of  the 
new  receivers  will  be  designed  to  receive 
both  the  conventional  tvpe  of  radio  broad- 
casts and  Frequency  Modulation.  What- 
ever further  developments  occur  in  the  im- 
mediate years  ahead,  one  thing  is  certain! 
Frequency  Modulation  is  here  to  stay.  It 
is  Electronics'  new  Blitzkrieg.  It  is  out  to 
add  a  brilliant  new  chapter  of  opportuni- 
ties to  the  history  of  radio  industry,  with 
many  possibilities  for  properly  trained 
men. 

To  any  of  our  readers  interested  in  enter- 
ing the  field  of  radio  or  television  the 
writer  of  the  above  article  will  be  glad  to 
supply  information  if  you  address  him, 
care  of  International  Photographer. 


•  Recently  Miss  Catharine  Sibley  in  our 
pages  issued  a  challenge  to  open  up  the 
new  frontier  of  Television.  She  pointed 
out  the  necessity  of  developing  a  new  tech- 
nique for  Television,  and  of  setting  up  a 
course  of  program  experimentation  for 
Television  alone.  She  reports  her  invita- 
tion to  trail  blaze,  far  from  going  unheed- 
ed, has  had  surprising  and  heartening  re- 
sponse. 

Among  those  attending  her  recently  in- 
augurated course  on  the  New  Technique  of 
Television  Production  and  Acting,  given 
under  the  auspices  of  the  University  of 
California  Extension  Division,  were:  Mr. 
Paul  Kerby,  composer  and  one-time  con- 
ductor of  the  Vienna  Philharmonic  Sym- 
phony orchestra  and  musical  advisor  to 
the  Salzurg   Festival;    Miss   Emily  Barrye, 


24 


former  assistant  director  with  Cecil  De 
Mi  lie,  and  now  associated  with  Harold 
Lamb,  the  historical  novelist;  Mr.  Denison 
Clift,  who  has  directed  motion  pictures  in 
this  country  and  England,  and  his  wife, 
a  writer  of  note;  Mr.  Norman  Lapworth, 
scientist  and  authority  on  acoustics,  who 
was  associated  with  the  University  of  Cali- 
fornia's famed  World's  Fair  Exhibit  in  San 
Francisco  last  year;  Miss  Mona  Hofmann, 
mural  painter  and  assistant  to  Diego  Ri- 
vera on  his  now  famous  mural  on  Pan- 
American  Unity;  Mrs.  Lucie  Chapman,  who 
with  her  husband  has  made  a  national 
reputation  for  herself  as  lecturer  and  pho- 
tographer of  wild  animals  in  America. 

This  group  with  its  trained  talents  in 
varied  professions  constitutes  the  nucleus 
of  Miss  Sibley's  production  staff  for    Tele- 


vision program  experimentation  over  Don 
Lee's  station  W6XAO  during  the  coming 
months. 

Survey  of  Motion  Picture 
Equipment  in  Colleges  and  Schools 

•  A  survey  of  motion  picture  equipment 
in  colleges  and  high  schools  in  the  United 
States  and  its  possessions,  compiled  by 
Nathan  D.  Golden,  Chief  of  Motion  Pic- 
ture Division,  Bureau  of  Foreign  and  Do- 
mestic Commerce,  may  be  secured  from 
the  Educational  Department,  RCA  Manu- 
facturing Company,  Inc.,  Camden,  N.  J. 
The  price  is  $3.00.  The  survey  includes 
name  and  location  of  17,500  colleges  and 
high  schools  having  motion  picture  and 
slide  film  facilities. 


P  fl  T  €  n  T  s 


By  ROBERT  W.  FULWIDER 
Patent  Attorney,  Los  Angeles 


No.  2,232,827  —  Film   Fire   Screen   for 
Motion  Picture  Apparatus.    Nicholas 
A.    Nicholson,    Johnstown,    Pa.     Appln. 
April  18,  1939.  4  claims. 
A  device  for  projectors  in  which  the  action 
of  the  film  strip  passing  through  the  ma- 
chine operates  the  dowser. 

No.  2,233,010 — Lichttight  Packing  for 
Photographic  Film.    Kurt  Hipke  and 
Alfred    Miller,    Germany,    assignors    to 
General   Aniline  &   Film   Corp.    Appln. 
Feb.   28,    1939.    In   Germany   March    1, 
1938.  4  claims. 
A  light-sensitive  photographic  roll  film  pro- 
vided  with    means   for   preventing   the   re- 
flection   of    creeping    light    in    connection 
with   said    film,   said   means   comprising   a 
roughened  surface  extending  across  an  end 
of  the  film. 


No.  2,233,284— Film  Drive  Starting  Ap- 
paratus.  Milford  E.  Collins,  assignor  to 
Radio  Corporation  of  America.    Appln. 
April  23,  1938.  9  claims. 
A  device  for  decreasing  the  starting  time  of 
film  drive  apparatus,  making  use  of  a  mag- 
netic drive  which  has  the  magnetic  connec- 
tion  strengthened   while   the   motor   is    ac- 
celerating. 

No.    2,233,771  -  -  Motion    Picture    Ma- 
chine.   Pierino   Edward   Comi,   Wollas- 
ton,     Mass.     Appln.     Aug.    2,    1938.     7 
claims. 
A   motion   picture   projector   which    has   a 
series   of  rollers  located   between  the   pic- 
ture projection  head  and  the  sound  head, 
these   rollers   bearing   on   the  edge   of  the 
film  to  prevent  its  vibrating. 

No.  2,233,809 — Cinematographic  Appar- 
atus. John.  R.  Darby,  assignor  to  Tech- 
nicolor   Motion    Picture    Corp.    Appln. 
Jan.  31,  1939.  2  claims. 
A  device  for  printing  border  lines  on  mo- 
tion   picture    film,    and    using    an    endless 
opaque  film  with  transparent  lines  corres- 
ponding to  the  border  lines  which  is  passed 
around  a  housing  having  a  light  in  it,  with 
a  picture  film  superpositioned  on  the  end- 
less film. 

No.  2,233,839— Moving  Picture  Project- 
ing Machine.   Antoine  Heurtier,   Saint- 
Etienne,   France.  Appdn.  June  2,   1939. 
In  France  June  10,  1938.  3  claims. 
A  projector  adapted  to  be  used  with  differ- 
ent size  films  and  having  correspondingly 
sized    sprockets    mounted    on    a    rotatable 
plate  somewhat  similar  to   a  turret  plate, 
with    a    rotating    spindle    supporting    (the 
plate  and  driving  the  sprockets. 
No.  2,234,950— Projection  Screen.  Rob- 
ert E.  Barclay,  assignor  to  The  Richard- 

International  Photographer  for  May,  1941 


son  Co.,  Lockland,  Ohio.  Appln.  Jan.  24, 
1938.  5  claims. 
A  projection  screen  suitable  for  both  trans- 
mitted and  reflected  images,  and  formed  of 
a  plurality  of  layers  of  translucent  paper 
bonded   together,    one   surface   being    pol- 
ished and  one  being  roughened. 
No.    2,235,033  —  Combined    Sound    and 
Color  Picture  Film.  Alfred  Miller,  as- 
signor to  General  Aniline  &  Film  Corp. 
Appln.  Nov.  5,  1937.    In  Germany  Nov. 
9,  1936.    1  claim. 
A  color  film  having  a  sound  track  formed 
in  a  black  and  white  emulsion  on  one  side 
of  the   film,   with  the  color   emulsions  on 
the  other  side  of  the  film,  these  likewise 
having  the  sound  track  printed  in  them. 
No.    2,235,743 — Apparatus    For   Taking 
Stereoscopic    Pictures.   Pierre   Gagli- 
ardi,  Paris,  France,  assignor  to  Establis- 
sements  Emel  S.  A.  R.  L.,  Paris,  France. 
Appln.  Feb.  9,  1939.  In  France  Feb.  9, 
1938.  3  claims. 
A  device  for  taking  stereoscopic   pictures 
which  has  two   lenses  which  are   both   fo- 
cused   by    a    single    adjustment,    the    same 
adjustment  rotating  a  prism  to  compensate 
for  parallax. 


STRANqE 
ENqJNEERJNq 

UNdcRTAkiNq 

By  Charles  R.  Ferryman, 
News  of  the  Day 

One  of  the  world's  strangest  engineering 
undertakings  is  now  under  way  at  Mud 
Mountain  Dam  in  the  State  of  Washing- 
ton. They  are  covering  a  deep  canyon  with 
one  of  the  largest  known  tents  so  they  can 
build  a  dam  under  it,  all  the  while  keeping 
everything  nice  and  dry,  they  hope. 

Thirteen  thousand  square  yards  of  heavy 
waterproof  canvas  was  cut  to  fit  the  zig- 
zag edges  of  the  canyon,  where  an  area 
196  by  328  feet  will  be  covered.  The  can- 
vas weighs  30,000  pounds  dry  and  will  be 
suspended  by  overhead  cables.  A  series  of 
pulleys  and  cables  make  it  possible  to  clear 
the  snow  from  the  top  of  it  and  around 
the  canyon  walls  have  been  constructed 
gutters  into  which  the  huge  tent  can  drain. 

Under  this  huge  protecting  canvas  men 
and  machinery  will  work  for  many  months 
to  come  on  the  earthen  core  of  Mud  Moun- 
tain dam. 

Newsmen  were  not  permitted  to  ride  up 
and  down  into  the  canyon  on  the  "skip" 
and,  as  you  can  see  by  the  photograph,  the 
walls  are  straight  up  and  down,  making  it 
a  tough  job  getting  outfits  in  or  out,  hence 
the  Eyemos. 


Left  to  right:  Charles  Ferryman,  News  of  the  Day;  Chalmer  D.  Sinkey, 
Fox  Movietone  News;  Earl  Nelson,  Universal  News  and  Bill  Hudson, 
Pathe  News  "getting  the  latest"  on  Mud  Mountain  Dam. 

25 


MOvilNQ  MOUNTAIN  AT  WARNER  bROThERS 


A  moving  mountain  has  been  brought  to 
the  interior  of  the  largest  sound  stage  on 
the  Warner  Bros,  studio  lot.  Its  base  is 
anchored  to  a  revolving  steel  table.  A 
whirl  of  the  table,  which  operates  on  the 
principle  of  a  simple  merry-go-round,  and 
the  mountain  will  turn  any  one  of  its  six- 
teen faces  to  the  camera. 

The  revolving  mountain  is  just  one  fea- 
ture of  a  set  constructed  for  "Sergeant 
York."  The  original  title  of  this  film  based 
on  the  exploits  of  America's  most  famous 
World  War  hero  was  "The  Amazing  Story 
of  Sergeant  York."  Art  Director  John 
Hughes  must  have  planned  his  key  set 
before  the  title  was  shortened.  Certainly 
this  particular  background  is  nothing  less 
than  amazing. 

In  the  confines  of  250  by  135  feet  of 
floor  space,  Hughes  and  his  technical  as- 


sistants have  duplicated  an  entire  Cumber- 
land mountain  valley  flanked  by  promon- 
tories and  ridges,  and  bisected  by  a  turbu- 
lent, rock-bedded  stream.  One  of  the  pro- 
montories is  the  moving  mountain. 

The  set  represents,  with  complete  authen- 
ticity, a  part  of  the  Tennessee  mountain 
valley  of  the  Three  Forks  of  the  Wolf, 
where  Alvin  C.  York  was  born  and  reared 
and  where  he  still  lives.  For  various  rea- 
sons, chiefly  the  availability  of  facilities,  it 
was  considered  more  practical  to  bring  a 
part  of  the  Three  Forks  of  the  Wolf  to  Hol- 
lywood than  to  take  a  part  of  Hollywood  to 
the  Three  Forks  of  the  Wolf. 

The  revolving  mountain  was  inspired  by 
the  demands  of  the  screen  play.  In  the  first 
place,  as  Art  Director  Hughes  pointed  out, 
a  real  mountain  is  as  changing  in  its  ap- 
pearance   as    a    chameleon.     It    looks    one 


way  in  the  soft  glow  of  moonlight,  pre- 
sents quite  another  face  in  the  harsh  glare 
of  noon. 

There  are  scenes  in  the  picture  which 
will  show  Gary  Cooper,  who  plays  Ser- 
geant York,  walking  the  mountain  trails  by 
moonlight  with  Joan  Leslie,  the  Gracie  Wil- 
liams York  of  the  story.  There  are  other 
scenes  which  show  him  looking  out  over 
the  fog-shrouded  valley  in  the  early  twi- 
light, fox-hunting  in  the  cool  morning  and 
ploughing  the  rocky  slope  in  the  heat  of 
the  day.  In  all  there  will  be  sixteen  differ- 
ent camera  setups  requiring  the  mountain 
background. 

Many  of  the  changes  could  be  achieved 
by  lighting.  Others,  involving  physical  de- 
tails, could  not.  It  would  have  been  pos- 
sible to  build  six,  or  sixteen,  separate 
mountain  sets — deep  ravines,  rock  ledges, 


Revolving  "mountain"  built  on   Warner  Bros."  largest  Bound   stage 


26 


rugged  promontories  and  cedar  thickets.  It 
was  simpler  to  combine  them  all  in  one, 
once  the  idea  of  revolving  the  mountain 
was  conceived.  It  was  also  far  more  effec- 
tive, because  the  tumbling  stream  and  a 
rock-ribbed  ploughing  field  are  always 
there  as  background  or  foreground  per- 
spective for  the  various  faces  of  the  moun- 
tain. 

Art  Director  Hughes  had  many  confer- 
ences with  Hal  B.  Wallis  and  Jesse  L. 
Lasky,  producers  of  the  picture,  and  with 
Howard  Hawks,  the  director.  Then  he  per- 
fected his  sketches  of  the  entire  setting, 
followed  them  with  a  small  scale  model, 
complete  in  every  detail.  Then  blueprints 
were  made  and  handed  over  to  Construc- 
tion Foreman  Henry  Fuhrman,  and  three 
daily  shifts  of  75  men  each  began  the  phy- 
sical task  of  bringing  mountains  to  a  Holly- 
wood sound  stage.  It  was  a  job  that  re- 
quired ten  full  24-hour  days. 

The  circular  table  upon  which  the  re- 
volving promontory  rests  is  35  feet  in 
diameter.  The  promontory  itself  rises  to 
a  peak  40  feet  above  the  stage  floor.  Total 
weight  of  this  mountain  is  60  tons. 

Across  the  stream  that  skirts  the  base  of 


the  moving  mountain  another  rocky  pro- 
montory rises.  This  peak  is  stationary,  an- 
chored by  steel  and  concrete  to  the  stage 
floor.  So  are  other  ledges  and  cliffs,  and 
so  is  the  hillside  slope  that  Cooper  will 
laboriously  plough,  following  a  plodding 
mule.  That  will  be  real  ploughing,  too,  as 
a  coating  of  dirt  eighteen  inches  deep  has 
been  placed  on  the  hillside  field. 

The  mountain  stream  wanders  and 
tumbles  a  distance  of  200  winding  feet.  Its 
bed  has  been  cemented,  to  hold  the  water 
tbat  will  be  fed  continuously  from  a  high 
tank,  caught  in  a  low  one  and  pumped 
back  for  use  again.  Real  mountain  bould- 
ers have  been  strewn  along  the  bed,  and 
real  grass  springs  from  the  sod  that  has 
been  set  by  the  stream.  In  all,  two  tons 
of  boulders  were  brought  to  the  set  for  art- 
ful distribution. 

The  man-made  mountains  are  creations 
of  timber,  cloth,  plaster  moulding,  rock 
and  soil.  The  timber  supports  are  so  con- 
structed as  to  give  the  contours  of  a  real 
mountain.  Over  them  is  placed  a  sheeting 
of  heavv  cloth.  Then  the  moulded  plaster 
"skins" — casts  made  from  moulds  taken  of 
real  rocks,  clefts  and  sections  of  mountain 


terrain — are  placed.  There  are  600  of  those 
"skins,"  each  covering  an  average  of  40 
square  feet,  on  the  mountains  of  Holly- 
wood's "little  Three  Forks  of  the  Wolf." 

Finally  came  the  soil,  the  patches  of 
grass-growing  sod,  the  shrubs  and  the  trees. 
Real  trees,  121  of  them,  were  brought  to 
the  huge  sound  stage,  which  fortunately  is 
the  largest  in  Hollywood,  and  were  hoisted 
to  new  anchorages  on  the  rocky  slopes  of 
the  mountains  and  the  floor  of  the  valley. 
Some  of  them  are  pine  and  oak,  but  75  of 
them  are  cedars.  The  cedars  are  the  pre- 
dominant trees  of  the  Three  Forks  of  the 
Wolf,  and  that  meant  difficulty  for  the  stu- 
dio. There  are  few  cedars  in  the  Southern 
California  mountains.  It  was  necessary  to 
bring  these  trees  from  the  northern  sections 
of  the  state. 

Just  to  be  on  the  safe  side,  Art  Director 
Hughes  provided  some  "spare  parts"  for 
his  revolving  and  stationary  mountains. 
Ten  pieces — sheer  precipices,  jagged  peaks, 
a  minor  promontory  or  two — were  con- 
structed. Mounted  on  casters  so  they  can 
be  swiftly  moved  into  any  desired  place, 
they  stand  at  a  far  end  of  the  huge  stage, 
ready  for  an  emergency  call  to  action. 


news  From  tNe  sTudios 


"Oomph"  Measured  Scientifically 

Motion  picture  studios  can  save  them- 
selves a  lot  of  money  by  having  the  sex 
appeal  exuded  by  their  potential  "oomph" 
girls  measured  scientifically,  according  to 
dispatches  received  at  Warner  Bros,  from 
San  Francisco. 

The  assertion  was  made  by  Dr.  Joseph 
W.  Catton,  noted  psychiatrist  and  professor 
of  clinical  medicine  at  Stanford  Univer- 
sity. He  said  "that  certain  something"  was 
susceptible  to  scientific  measurement  in  a 
lecture  to  a  San  Francisco  State  College 
psychology  class. 

In  expounding  his  thesis.  Dr.  Catton  sug- 
gested the  term  "manpower"  as  the  meas- 
ure of  the  appeal  of  a  maid  for  a  man,  for 
he  said  it  could  be  measured  as  accurately 
as  engine  horsepower.  Explaining  how  it 
is  done,  he  said: 

"One  by  one,  the  members  of  a  repre- 
sentative cross-section  of  the  movie-going 
public  are  shown  a  photograph  of,  say, 
Marlene  Dietrich. 

"The  meter  recording  of  the  emotional 
reactions  of  the  average  fan  to  the  name 
and  the  picture  of  Miss  Dietrich  are  scored 
in  units  of  'manpower'  on  devices  we  have 
to  show  the  psycho-galvanic  change,  and 
the  responses  of  pulse,  blood  pressure  and 
respiration. 


"Next  a  group  of  suggestions  is  made, 
such  as: 

"  'You  and  Miss  Dietrich  are  picnicking 
together.' 

'  'You  are  riding  along  together  in  a 
coupe.' 

;  'You  are  dancing  with  Miss  Dietrich.' 
'  'You   are  kissing   Miss   Dietrich   good 
night.' 

"Units  of  credit  should  be  given  for  'no 
reaction,'  'mild  reaction,'  'strong  reaction,' 
on  the  metered  responses.  There  is  your 
measure  of  'manpower.' 

"If  a  motion  picture  company  were  to 
apply  the  tests  to  a  random  100  men  and 
thus  determine  the  actress  with  the  greatest 
number  of  'manpower'  units,  this  might 
avoid  making  large  investments  in  abortive 
careers  of  many  young  girls  who  are  merely 
beautiful." 

Dr.  Catton  evidently  picked  a  good  ex- 
ample, for  after  his  lecture,  the  psychology 
class  conducted  a  number  of  such  tests 
with  the  names  and  photographs  of  Holly- 
wood's leading  exponents  of  allure  and  re- 
ported that  Marlene  Dietrich's  "manpow- 
er" rating  was  96,  the  highest  score.  Ann 
Sheridan,  the  original  "oomph"  girl,  was 
second  with  95,  and  the  next  three  were 
Betty  Grable,  Rita  Hayworth  and  Lana 
Turner. 


Make-up  Replaces  Tights  on  Sonja 

Streamlining  experiments  have  added  an- 
other new  trick  to  Sonja  Henie's  skating 
technique  and  incidentally  saves  her  over 
$100  a  day  during  the  three-week  period 
during  which  she  will  film  skating  se- 
quences for  her  current  20th  Century-Fox 
picture,  "Sun  Valley." 

Sonja  has  found  that  by  discarding  the 
hip-length  silk  tights  which  she  has  al- 
ways worn,  and  substituting  body  make-up 
on  her  legs,  it  gives  her  more  freedom  of 
action  and  increases  her  skating  and  spin- 
ning speed.  So  in  this  picture  tights  are 
out  in  favor  of  make-up. 

The  tights  which  she  has  always  worn 
before  cost  her  $35  a  pair,  and  during  a 
day's  filming  on  the  rink  she  wore  out  an 
average  of  three  pairs  a  day.  Being  made 
of  over-length  silk  stockings,  a  couple  of 
hours  of  activity  in  them  starts  a  run  which 
makes  them  useless  after  that.  Now  there 
won't  be  any  "run"  trouble,  and  Sonja  will 
also  save  time  by  not  having  to  make 
changeovers. 

Sonja  also  recently  discovered  that  by 
wearing  tight  shorts,  without  any  skirt,  she 
could  increase  the  speed  of  her  spin  to 
three  times  what  it  would  be  with  a  tiny 
short  skirt  on.  These  streamlining  effects 
are  going  into  "Sun  Valley"  to  provide 
Sonja  Henie  skating  fans  with  more  sensa- 
tional effects  to  try  and  copy. 


International  Photographer  for  May,  1941 


27 


Cliff  Edwards  Forced 
Into  Musicians  Union 

Cliff  Edwards,  sometimes  known  as 
"Ukulele  Ike,"  who  has  been  playing  his 
Ukulele  on  stage  and  screen  for  22  years 
without  having  to  join  the  Musicians  Union, 
has  been  notified  by  its  president,  James 
C.  Petrillo,  that  the  ukulele  has  finally  been 
classified  as  a  musical   instrument. 

Therefore,  Edwards  was  told,  he  will 
have  to  join  the  union  if  he  wishes  to  con- 
tinue playing  his  ukulele  on  stage  or 
screen.  He  applied  for  membership  at  once, 
because  he  plays  the  instrument  as  part  of 
his  current  role  in  Warner  Bros.'  "The 
Flight  Patrol."  co-starring  James  Stephen- 
son and  Ronald  Reagan. 

Claudette  Colbert  in 
"Remember  the  Day" 

Claudette  Colbert,  dark-haired  film  star, 
will  return  to  the  20th  Century-Fox  lot 
shortly  for  one  of  the  finest  roles  of  her 
brilliant  career. 

Darryl  F.  Zanuck  announced  that  Miss 
Colbert  had  been  signed  to  star  in  the  film 
version  of  the  successful  stage  play,  "Re- 
member the  Day,"  which  is  scheduled  to  go 
into  production  after  about  six  weeks. 

The  play,  one  of  Broadway's  major  hits, 
was  written  by  Philo  Higley  and  Philip 
Dunning.  Twentieth  Century-Fox  is  report- 
ed to  have  paid  a  fancy  price  for  the  film 
rights.  William  Perlberg  will  be  Associate 
Producer  of  the  film  production. 

Tess  Schlesinger  and  Frank  Davis  turned 
out  the  screen  play  for  "Remember  the 
Day,"  a  romantic  drama. 

Miss  Colbert,  one  of  the  screen's  top  fig- 
ures, made  her  last  appearance  on  the 
20th  Century-Fox  lot  in  "Drums  Along  the 
Mohawk,"  with  Henry  Fonda  and  John 
Ford  as  the  director.  That  was  one  of  the 
most  successful  pictures  turned  out  by  the 
studio  last  year. 

CLASSIFIED 

LARGE  QUANTITY  OF  PROFESSIONAL  CAM- 
ERAS AVAILABLE.  WRITE  FOR  BARGAIN 
BOOKLET.     BURKE   &  JAMES,    INC.,   223    W. 

MADISON   ST.,   CHICAGO,   ILL. 

WANTED  TO   BUY   FOR  CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO      LABORATORY      AND      CUTTING 

ROOM   EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600   Broadway  New  York  City 

Tel.    Circle   6-5080— Cable  :    CINEQUIP 

BELL   &   HOWELL,    5-WAY    SOUND    PRINTER. 

CAMERA   EQUIPMENT    COMPANY 

I'. 00    Bt-oa<hvay  New   York   City 

Tel.   Circle   6-5080— Cable:    CINEQUIP 

FOR  SALE:  Like  new.  H.C.E.  "Hollywood"  Com- 
bination 35  mm.  and  16  mm.  automatic  one-man 
developing  machine.  Operating  capacity  3000  feet  of 
positive  or  1500  feet  of  negative  per  hour.  Price 
$1250.00.         HOLLYWOOD        CAMERA         EX- 

CHANGE,    1600   N.    Cahuenga   Blvd.  

MITCHELL  NC  112.  LIKE  NEW.  Up  to  the  min- 
ute. B.  B.  RAY,  300  W.  Durante  Road,  Arcadia, 
Calif. 


TRADEWINDS 


(Continued  from  page  22) 


Leitz  Cover  Class  Plates 

Many  professional  and  scientific  laboratories 
who  make  numerous  1  x  Wi  inch  color  trans- 
parencies have  found  that  the  ground  edges 
of  the  Leitz  Cover  Glass  Plates  permit  slides 
to  be  made  with  greater  rapidity,  make  the 
final  slide  neater  in  appearance,  and  result  in 
bound  slides  which  are  more  uniform  in  size. 
As  a  convenience  to  those  who  make  large  num- 
bers of  slides,  the  Leitz  Cover  Glass  Plates  are 
now  available  in  a  special  "Laboratory  Packing" 
which  contains  600  glass  plates.  This  package 
lists  at  $7.00. 


Solar  Enlargers  With  Variable 
Light  Intensity  Bulb 

Announcement  comes  from  Burke  and  James, 
Inc.  that  Solar  Enlargers  are  now  fitted  with  a 
three  filament  lamp  that  provides  evenly  distrib- 
uted 50,  100  or  150  watt  illumination  and  a  spe- 
cial three  switch  position  socket.  This  really  worth 
while  improvement  enables  the  operator  to  match 
the  intensity  of  the  light  to  the  density  of  the 
negative. 

On  thin  negatives,  the  lower  light  intensity 
tends  to  improve  print  contrast  while  on  dense 
negatives  a  more  powerful  light  acts  to  provide 
a  wider  gradation  of  tones  in  the  print.  This  new 
feature  is  now  being  furnished  as  standard  equip- 
ment on  Solar  enlargers  at  no  increase  in  price. 

Another  "first"  for  Burke  and  James,  Inc.,  Chi- 
cago, 111.,  comes  in  the  form  of  the  Solar  Table 
Switch.  The  switch  with  its  feather  touch  light 
control,  (and  Special  Mercury  contacts  make  for 
safety,  no  sparking,  and  long  life)  operates  the 
new  three  power  enlarger  bulb. 

Depressing  the  push  button  turns  the  light  on, 
depress  it  again  and  the  light  turns  off. 


I  OE     SALE— High 

sound   system,    new. 

I -duet  ion     ;ii>i|i 

for    immediati     u  e, 

'.■■■.      i  .  .  I      I  <-.-,, i  ,|i  [,:• 

era,    complete    ■■■.  il  li 
corder    with    It.    & 

0.     Cash   or   u 

camera   equipment. 

Am-.,    Tuel-.ahoe,     N. 


quality  modern  portable  double 
Berndt-Maurer  Galvanometer   and 

liner,  W.  E.  microphone,  complete 
$2,000.00.     Single    system    R.C.A. 

head  for  Mitchell  Standard  Cam- 
motor.  $250.00.  Finely  built  re- 
H.     Magazine,     no    Galvanometer, 

ill  trade  for  Mitchell  or  H.  &  H. 
DON  MALKAMES,  40  Standish 
Y. 


Agfa  Triple  S  Ortho 

Newest  member  of  the  family  of  professional 
films  manufactured  by  Agfa  Ansco  in  Bingham- 
ton,  New  York,  is  Triple  S  Ortho.  an  achieve- 
ment in  film-making  that  brings  outstanding 
advantages  of  value  to  many  photographers.  Manu- 
facturers stale  that  emulsion  of  this  new  film  ex- 
hibits a  combination  of  extreme  speed  and  high 
orthochromatic  color  sensitivity,  together  with  an 
essentially  long-scale,  yet  moderately-brilliant  por- 
trait gradation  which  makes  it  preferred  on  the 
many  occasions  in  portraiture,  commercial  and 
illustration  photography  when  extreme  speed  is 
necessary  and  the  tone  rendering  of  a  highly 
orthochromaticfilm  is  desired.  Speed  is  com- 
parable to  Agfa  Superpan  Press  and  Triple  S  Pan 
films,  and  its  gradation  and  color-sensitivitj 
characteristics  make  it  well  adapted  to  use  in 
tungsten  and  fluorescent  illumination  as  well  ;is 
daylight.  Other  features  of  interest  include:  a 
back  coating  for  halation  prevention;  an  anti- 
abrasion  malic  surface-coating  that  facilitates 
negative  retouching;  and  a  spectral  sensitivity 
thai  permits  development  wilh  occasional  inspec- 
tion   by    red   safelight. 

Triple  S  Ortho  is  available  through  regular 
sources  of  supply  in  all  standard  sizes  on  Safety 
Base,  and  at  no  increase  over  standard  prices  for 
oilier    Agfa    orthochromatic   sheet    films. 


Hollywood 

Hollywood!  City  maligned, 

Censured,   praised,  misunderstood, — 

Apollo's  Oracle  enshrined 

Afar  from  Delphi's  sacred  wood! 

Pythia  speaks,  in  pictured  thought 

Old  when  Babel's  language,  banned, 

Became  confused.   In  boldness  wrought, 

Her  flickering  hieroglyphs  are  scanned 

By  all  the  peoples,  races,  creeds, 

On  screens  stretched  taut  across  the  world. 

Modern  Dionysian  deeds, 

Captive  visions,  swift  are  hurled 

In  glowing  incandescence  bright, 

To  tell  in  Universal  tongue 

The  stories  chalked  in  torches'  light 

By  cave-men  when  the  world  was  young. 

City  of  a  thousand  lies, 

Gomorrah  of  Pacific  Coast, 

To  those  who  drink,  with  bleary  eyes 

To  a  mephitic  Sodom's  toast! 

Scioned  by  a  sturdy  stock, 

Edened  by  Creator  wise, 

Guardianed  by  Sierra's  rock, 

Thou,  an  earthly  paradise. 

Surfeited  with  beauty  rare, 

Blest  with  months  of  cloudless  sky, 

Sensuous-sweet  your  perfumed  air, 

Lovely  village,  doomed  to  die! 

In  your  place  a  city  born, 

Sired  of  visions,  fed  light's  gleams, 

Taught  to  speak  in  love  and  scorn, 

Grown  to  fame  because  of  dreams. 

Thou  has  suffered  blasphemies, 
Meekly  worn  a  martyr's  crown, — 
Undeserved  the  heresies 
Of  those  who  would  tear  thee  down. 
You  who  nurtured  De  Longpre, 
Builded  churches,  homes  and  schools, 
Lived  content  and  learned  to  pray, — 
List  ye  not  to  frothing  fools! 
We  who  live  close  to  your  heart, 
Loyally  defend  your  name, 
Glad  to  be  of  you  a  part, 
Proud  to  share  your  envied  fame. 
Censured,  praised,  misunderstood. 
In  a  seething  maelstrom  whirled, 
Pagan,  Christian  Hollywood, 
Oracle  to  all  the  world! 

By  Virgil  Miller. 


28 


NEW  BEAUTY 


SUPERB  photography  distinguishes  mod- 
ern screen  productions.  Dramatic  lighting 
and  interesting  camera  angles  receive  stim- 
ulating support  from  the  high  quality  and 
unvarying  uniformity  of  Eastman  negative 
films  —  each  an  expert  in  its  field.  Eastman 
Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  little  light  is  available 

BACKGROUXD-X 

for  backgrounds  and  general  exterior  work 

EASTMAN  NEGATIVE  FILMS 


RUDY   MATE, 


x\»  &♦  v^/* 


Director  of  Photography 


"That  Hamilton  Woman" 

Alex  Korda's  Production 

The  popular  choice  of  the  month 
HOLLYWOOD  REPORTER 

PREVIEW  POLL 

For 

BEST  PHOTOGRAPHY— 


Up  the  ladder — 
VIVIEN  LEIGH 

RUDY  MATE 

ALEX  KORDA 

At  the  camera— right  running— 

JIMMY  MURRAY 

2nd  Assistant  Cameraman 

BURNETT  CUFFEY 
Operative  Cameraman 

CLIFF  KING 
Assistant  Cameraman 

Negative  Processing 

Consolidated  Film 

Laboratories 

EASTMAN  FILMS 


BRULATOUR  SERVICE 


A> , 


JtNE,  l941 


25  CENTS 


'*. 


V 


\ 


Connecting 


These  films  make  a  difference  which  the 
average  movie-goer  can  both  see  and  hear. 
They  record  and  reproduce  sound  with 
greater  fidelity.  They  enhance  the  quality 
of  master  positives,  release  prints,  and  back- 
grounds for  projection.  Used  in  conjunction 
with  fine  grained  Du  Pont  camera  negatives, 
they  transfer  to  the  screen,  more  perfectly 
than  ever  before,  the  skill  and  artistry  ex- 
pended in  motion  picture  production. 


Du  Pont  Film  Manufacturing  Corp.,  New  York,  N.  Y. 
Smith  &.  Aller,  Ltd.,  Hollywood,  Calif. 


BETTER  THINGS  for  BETTER  LIVING    through   CHEMISTRY 


International 

pkOTOQRApllER 


Vol.  XIII 


June,  1941 


No.  5 


LEADING  ARTICLES  IN  THIS  ISSUE 

Mexico's  Motion  Picture  Festival,  Wallace — Page  3 
Casting  for  Travelogues,  Fernstrom — Page  8 
Uncle  Sam's  Parachute  Battalion,  Newhard — Page  13 
Using  the  Exposure  Meter,  Anderson — Page  18 

PICTORIAL  FEATURES 

Sun  and  Wind,  Mortensen — Page  2 

"Here  Comes  the  Cavalry,  Kling — Pages  6,  7 

Magazine  Photographers'  Contest,  Albin  &  Rhodes — Page   10 

"Parachute  Battalion,"  Sigurdson — Pages  12,  14,  15,  16 

REGULAR  DEPARTMENTS 

They  Say,  Rella — Page  17 
16  mm.  Department — Page  20 
Television,  Evans — Page  21 
Patents,  Fulwider — Page  24 


Editor,  Herbert  Ali.ek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical   Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  O.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CAtDWEU 


On  the  cover 

This  still  by  Oliver  Sigurdson  was  made 
during  filming  of  "Parachute  Battalion," 
RKO  Radio  Production,  as  were  the  pictures 
on  pages  12,  14  and  15.  The  shots  were 
made  from  a  specially  constructed  army  car 
with  a  (.raflex  under  heavilv  overcast  skies. 


Efficient  Courteous 

Service 

■ 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

■ 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


CO        CO 

0       0 

3     D 

CO        CO 

en      en 

-.-t            -~H 

CD 

(N     CM 

O 

1 1         1 1 

w 

' 

L-. 

CD 

B   8       ! 

0       0              : 

a  -3 

D1    - 

0        0 

O      O            ! 

"t.     o 

2  * 

X  ir 

o    o 

Ph     "o 

CM     <N 

H      X 

m   te- 

o  ~- 

CO                      : 

O    S      "* 

— i      i-i 

H3    J2            j 

-1 1 

%    2       i 

V 

0  s 

o    £         \ 

T 

X 

b?   w 

£     ■— •             ;           v 

< 

CD 

W    pq         *        c 

a 

Int 

6461 

□  a    i    & 

a 

CO 

> 

25D  A  YEAR 


tor  difficult  shol»  —  THE     ORIGINAL 

Scheibe's  Monotone  Filter 

INDICATES  instantly  how  every  color  and 
light  value  of  a  scene  or  object  will  be  ren- 
dered in  the  finished  print  btfore  taking 
the  picture.     •:•     always  ready. 

GRADUATED  FILTERS 

Mwofytt    wni    MiqWefttrcrs 
FOG  SCENES,  DIFFUSED  FOCUS  AND  OTHER  EFFECTS 

TJUr£  fOR  FOLDER  TWinoikt  210J 

Gcorqe  H.  Scheibe 

ORIGINATOR   OP   EFFECT    FILTERS 


International  Photographer  for  June,  1941 


ORIGINATOR   Ol 
1927  WEST  78™  ST 


LOS  ANGELES.  CAL 


SUN  AND  WIND 


By  William  Mortensen 


Mexico's  motjon  picture  FestjvaI 


Among  those  making  the  trip  to  Mexico  City  to  partake  in  President  Avila  Camacho's 
Motion  Picture  Festival  were  (left  to  right)  Brenda  Marshall,  William  Holden,  Sabu, 
Wallace  Beery,  Kay  Francis,  Desi  Arnaz,  Lucille  Ball,  Norma  Shearer,  Mischa  Auer, 
Esther  Fernandez,  Patricia   Morison,  Frank  Morgan  and  Frank   Capra.  Bachrach 


With  fifty  stars,  executives  and  corres- 
pondents back  at  work,  leaving  behind 
them  in  Mexico  City  the  ringing  cheers  of 
hundreds  of  thousands,  Hollywood  is 
being  acclaimed  today  as  America's  first 
diplomat. 

The  occasion  was  the  attendance  of  the 
motion  picture  industry's  delegation  to 
President  Manuel  Avila  Camacho's  Motion 
Picture  Festival,  April  12  to  14.  In  Wash- 
ington and  Mexico  City,  high  government 
officials  agree  that  no  mission  in  a  compass 


By  William  Wallace 

of  years  has  so  thoroughly  and  graciously 
done  its  work. 

No  selling  mission,  no  outright  stunt  in 
support  of  any  single  motion  picture,  the 
visit  of  the  Hollvwood  stars  to  Mexico  was 
purely  and  simply  a  testament  that  the 
people  of  the  North  American  continent 
are  bound  together  in  the  common  cause 
of  Democracy  and  a  free  life.  The  ties  of 
equality  and  friendship  became  apparent 
before    the    planes    had    been    three   hours 


Cavjar  or  Corn  Ed  BeeF? 


George  Jean  Nathan  has  somewhere  re- 
marked that  to  the  Englishman  sex  is  beef- 
steak, while  the  Frenchman  regards  it 
merely  as  hors  (Toeuvres. 

The  French  as  a  race  have  an  amazing 
gift  for  intellectual  detachment.  Affairs 
and  issues  that  an  Anglo-Saxon  gets  emo- 
tionally embroiled  in,  and  which  he  messes 
up  with  sentiment  and  prejudice,  a  French- 
man regards  in  a  clear,  cold  light.  Under 
this  light  he  perceives  that  many  of  these 
things  are  very  pleasant  and  very  amusing, 
but  nothing  to  get  apopletic  about.  So 
he  proceeds  to  smile  at  them,  to  enjoy 
them — and  forthwith  to  forget  them.  A 
particular   evidence   of  the   detachment   of 


the  Frenchman  is  his  well-known  skill  in 
setting  forth  the  lighter  and  more  amusing 
aspects  of  sex,  and  in  enjoying  them  with- 
out blushes  and  without  sniggers. 

Anglo-Saxons  practicing  this  phase  of 
nude  art,  being  unaccustomed  to  it,  and 
perhaps  temperamentally  still  unreconciled 
to  it,  must  assiduously  practice  lightness 
of  touch.  A  bit  of  grossness,  a  bit  too 
heavy  an  accent,  a  bit  too  much  aggressive- 
ness— and  your  caviar  becomes  corned 
beef.  In  thought,  in  action,  in  structure — 
the  picture  must  conform  throughout  to  the 
lightness  of  its  intent. 

— William  Mortensen, 

"Monsters  and  Madonnas'* 


out  of  California.  The  first  landing  on 
Mexican  soil  in  Hermosillo  was  accom- 
plished in  a  boil  of  humanity  which  sur- 
rounded the  planes  and  cheered  the  stars. 
After  a  brief  customs  stop,  the  party 
proceeded  to  the  famous  seaside  city  of 
Mazatlan,  noted  for  its  sports  and  fishing. 
There,  in  a  democratic  outburst  of  infor- 
mality, stars  and  working  press  alike 
shared  simple  accommodations,  mingled 
openly  with  the  populace  in  the  streets  and 
quickly  established  the  mood  that  pre- 
vailed throughout  the  entire  trip.  The  city 
of  Mazatlan  arranged  a  dinner  for  that 
evening,  and  the  first  official  visits  were 
accomplished  there. 

Colonel  Rodolfo  T.  Loaiza,  Governor  of 
the  State  of  Sinaloa,  and  his  Honor, 
Federico  Cuevas,  Presidente  Municipal  of 
Mazatlan,  joined  in  welcoming  the  Ameri- 
cans to  Mexico.  After  the  official  dinner, 
the  Hollywood  party  split  up,  some  visiting 
the  Cathedral,  crowded  with  Good  Friday 
worshippers,  some  the  world  -  renowed 
beach,  others  meeting  the  leading  Mexi- 
cans who  live  there. 

Soon  after  dawn  next  morning,  the 
entire  party  took  off  for  Mexico  City, 
which  the  three  Pan-American  planes 
reached  just  before  noon.  After  circling 
the  city  three  times  in  formation,  the 
planes  landed  at  the  airport  to  be  met  by 
hundreds  of  thousands  of  Mexicans  who 
not  only  jammed  every  corner  of  the  large 
field,   but   lined  the  city   streets  for   seven 


International  Photographer  for  June,  1941 


miles  into  the  city  itself.  The  party  was 
put  into  three  huge  busses  and,  guarded 
fore  and  aft  and  on  the  sides  by  squadrons 
of  motorcycle  police,  the  Hollywood  guests 
sped  to  the  Hotel  Reforma,  on  Mexico's 
famed  Paseo  de  la  Reforma,  the  historic 
street  down  which  the  Presidents  of  Mexico 
have  ridden  and  down  which,  also,  the 
tragedy-freighted  Maximillian  and  Carlotta 
used  to  ride. 

The  party  no  sooner  had  landed  at  the 
hotel  than  it  refreshed  itself  from  the  long 
airplane  trip  and  proceeded  at  once  to  the 
American  Embassy  for  official  reception 
by  Honorable  Josephus  Daniels,  United 
States  Ambassador  to  Mexico,  and  Mrs. 
Daniels.  Following  this,  the  entire  group 
was  received  by  His  Honor,  Rojo  Gomez, 
the  Mayor  of  Mexico  City.  In  the  few 
hours  remaining  until  nightfall,  the  stars 
prepared  for  the  first  of  a  series  of  per- 
sonal appearances  in  the  leading  film 
theatres  of  the  city.  That  night,  through 
screaming,  cheering  mobs  of  countless 
thousands,  the  stars  visited  four  theatres, 
in  which  not  only  every  seat  but  the  aisles 
themselves  were  jammed  from  entrance 
right  down  to  the  footlights.  Mexican 
stage  and  film  actors  of  renown  volun- 
teered as  masters  of  ceremonies  and  intro- 
duced the  personalities  to  wild  applause. 
The  theatre  managers  in  each  case  served 
buffet  supper  backstage. 

The  Sunday   program  began  early  with 


a  charro  festival  and  riding  and  bull  fight- 
ing exploits  for  the  Hollywood  guests. 
After  a  thrilling  exhibition  of  Mexican 
prowess  in  these  sports,  the  party  departed 
for  El  Rancho  Blanco,  the  oldest  ranch  in 
Mexico  in  the  unbroken  possession  of  one 
family.  For  416  years,  almost  since  the 
time  of  Cortez,  the  ranch  has  been  held  by 
the  Alessandro  family.  There  native  Indian 
Aztec  and  Chichimeca  tribes  performed 
centuries  old  dances  and  rituals  to  the 
fascinated  gaze  of  the  Hollywood  visitors. 
One  group  of  Chichimecas,  performing  he 
now  forbidden  ritual  of  El  Volador,  had 
walked  150  kilometers  to  show  the  men  and 
women  of  the  United  States  a  thrilling, 
ancient  Aztec  ritual  ceremony  in  which 
six  men,  seated  atop  a  narrow  platform 
on  a  100-foot  pole,  suddenly  leap  into 
space  and  slowly  spiral  down,  head-first 
on  the  end  of  long  ropes. 

A  barbecue  in  the  native  style  was  served 
at  El  Rancho  Blanco,  after  which,  reluc- 
tantly leaving  the  ancient  rancho  and  its 
picturesque  old  buildings,  some  of  the 
party  returned  to  the  hotel  while  others 
visited  Chapultepec  Castle,  the  home  of 
Maximillian  and  Carlotta,  and  of  Mexican 
presidents  after  them.  This  ancient  hill 
was  the  original  home  of  the  Aztec 
emperors,  the  only  high  spot  in  the  middle 
of  a  volcanic  lake.  When  Mexico  City 
began  to  grow  after  the  Spanish  conquest, 
the  lake  was  gradually  filled  in  until  now 
the  great  city  sprawls  across  a  man-made 


plain  in  which  Chapultepec  stands  high 
and  alone.  Special  privileges  were  ex- 
tended by  the  Mexican  Government  to  the 
Hollywood  visitors  and  they  were  taken 
upstairs  in  the  palace  into  the  living  apart- 
ments of  Maximillian  and  Carlotta,  later 
to  be  occupied  by  a  succession  of  Presi- 
dents, notably  the  famous  Porfirio  Diaz. 
There  they  saw  Carlotta's  own  furniture 
and  decor,  the  famous  Aubusson  carpet, 
the  crystal  chandeliers,  the  gold-plate,  the 
silver  and  other  now  national  treasures  of 
Mexico,  including  priceless  tapestries  given 
to  Maximillian  by  religious  and  political 
orders  in  France. 

Easter  night  the  film  group  made  per- 
sonal appearances  at  five  theatres,  after 
which  in  the  gigantic,  stunning  Palace  of 
Fine  Arts  they  were  guests  of  the  Mayor 
of  Mexico  City  at  a  formal  banquet  and 
ball. 

The  event  to  which  all  had  looked 
forward  and  which  was  in  effect  the  cap- 
ping of  the  entire  trip,  took  place  soon 
after  noon  on  Monday  when,  after  a  series 
of  visits  to  the  Ministries  of  Interior, 
Communications  and  Foreign  Relations, 
the  entire  group  was  received  by  His 
Excellency,  Manual  Avila  Camacho,  the 
President  of  Mexico,  in  his  suite  in  the 
presidential  palace,  the  White  House  of 
Mexico  City.  President  Avila  Camacho 
expressed  the  pleasure  of  himself,  his 
government  and  his  people  at  the  visit,  and 
his  sentiments  were  responded  to  by  Direc- 


Milling  <tow«I  outside  IIi>i«'I  Reforma  at   night  (Wallace) 


tor  Frank  Capra,  speaking  for  Hollywood 
and  the  United  States. 

The  group  went  direct  from  the  palace 
to  the  airport,  boarded  the  three  planes 
and  flew  to  Guadalajara,  second  city  of 
Mexico  and  home  of  the  famous  pottery 
and  glass  wares  of  Mexico. 

The  populace  of  Guadalajara  jammed 
the  streets  leading  to  the  hotel  from  four 
directions  and,  although  the  Mexicans  are 
used  to  retiring  early,  they  stood  there 
patiently  awaiting  glimpses  of  Hollywood's 
leading  stars  and  executives  from  5  o'clock 
in  the  afternoon  until  after  4  o'clock  the 
next  morning,  at  which  time  there  still 
were  several  hundred  waiting.  Their 
patience  was  rewarded  soon  after  dawn, 
when  the  visitors  began  assembling  for  a 
dash  to  the  airport.  There  the  planes  took 
off  for  the  last  leg  of  the  return  flight. 

The  official  list  of  those  who  went  to 
Mexico  City  to  meet  an  outpouring  of  true 
democratic  spirit  and  co-operative  kinship 
between  two  countries  follows: 

John  Hay  Whitney,  David  0.  Selznick, 
Norma  Shearer,  Mrs.  Douglas  Fairbanks, 
Sr.,  Mickey  Rooney,  Frank  Capra,  Jock 
Lawrence.  Kay  Francis,  Wallace  Beery, 
Johnny  Weissmuller,  Frank  Morgan, 
Brenda  Joyce,  Brenda  Marshall,  Joe  E. 
Brown,  Louella  0.  Parsons,  Dr.  Harry 
Martin,  Francis  Alstock,  Mr.  and  Mrs. 
William  Wilkerson,  Mischa  Auer,  Patricia 
Morison,  Esther  Fernandez,  Desi  Arnaz, 
Sabu,  Lucille  Ball,  William  Holden,  Susan 
Hayward,  Mr.  and  Mrs.  Oliver  Hardy, 
Mr.  and  Mrs.  Stan  Laurel,  Mary  Gordon, 
Edwin  Schallert,  Major  Claussen,  Mr.  and 
Mrs.  Kenneth  Thomson,  Ralph  Jordan, 
Luigi  Luraschi,  lone  Drake,  Charles  Dag- 
gett, William  Wallace,  Blayney  Matthews, 
Les  Petersen,  John  Truesdell,  Kay  Proctor, 
Shaik  Dastagir,  Herbert  Klein,  Irving 
Rubine,  Whitney  Bolton,  Ivan  Spear,  Carl 
Schaefer,  Ralph  Wilk,  Mr.  and  Mrs.  Drew 
Pearson,  Mr.  and  Mrs.  Robert  Vogel, 
Raymond  A.  Klune,  Raymond  Clapper, 
Miguel  de  Zarraga  and  Whitey  Hendry. 

So  enthusiastic  are  all  these  that  they 
have  volunteered  to  repeat  the  trip  to  any 
Latin  -  American  country  designated  by 
John  Hay  Whitney,  who  is  chairman  of 
the  Federal  committee  drafted  to  promote 
better  relations  between  the  Americas. 

With  all  of  our  hard  work  and  heavy 
schedule  on  an  assignment  like  this,  there 
was  always  something  humorous  that 
seemed  to  stand  out.  Other  than  competing 
with  the  Mexican  photographers  who  were 
always  courteous  and  gentlemanly  I  found 
it  difficult  to  talk  to  them  and  they  found 
it  just  as  difficult  to  understand  me.  Hav- 
ing a  very  large  party,  some  fifty  people, 
and  anxious  to  cover  for  all  of  the  studios 
and  their  contract  players,  necessitated 
that  I  get  back  quite  a  distance  and  take 
in  a  large  spread.  I  would  get  way  back 
to  get  the  spread,  then  twenty-five  or 
thirty  Mexican  cameramen  would  move  in 
and  start  banging  away. 

Before  mv  next  trip  I  will  go  to  Holly- 
wood High  School  and  learn  a  few  words 
(Continued  on  page  26) 

International  Photographer  for  June,  1941 


Upper,  left  to  right:  David  O.  Selznick,  Mickey  Rooney,  Ed  Schallert. 
Mrs.  Kenneth  Thomson,  Norma  Shearer,  Mexican  official,  Kay  Francis, 
Dr.  Martin,  President  Manuel  Avile  Camacho,  Patricia  Morison. 
Lower:    Johnny   Weissmuller   and    Esther   Fernandez.     (Wallace) 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

DAY PHONES NIGHT 

NEW  ADDRESS 

Hillside        AQ7i  n    i  a  HEmpstead 

6373  De  Longpre  Ave. 

8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


"HERE  COMES  THE  CAVALRY' 


'^'  .:•'•• 


** 


-    ii 

...    ir    >     >• 

+  • 

Highlights  in  the  life  of  the  cavalry  from  the  two  reel  Technicolor  featurette  by  Warner 
Bros,  in  cooperation  with  the  United  States  Army.  Two  top  pictures  show  machine  gun 
practice;  center  left,  cavalry  in  action;  right,  en  route  to  maneuvers;  lower,  cavalry 
passing  in  review. 


Stills  by  Clifton  L.  Kling  with  Speed  Graphic 


Top:  Troop's  Colors  and  Color  Guard;  center  left,  dismissal  of  troops;  right,  Byron 
Barr,  Garry  Owen  and  Larry  Williams  watch  Bill  Justice  "kick"  a  horse  before  going 
into  jumping  show;  lower  left,  Bill  Justice  and  horse  falling  over  a  jump;  right, 
trooper  in  training  practice. 


International  Photographer  for  June,  1941 


castinq  For  traveIoques 


One  of  the  toughest  jobs  connected  with 
the  shooting  of  travelogues  and  that  type 
of  short  film  in  color  is  commonly  referred 
to  as  CASTING,  and  about  which  so  many 
stories  have  been  told,  casting  aspersions 
on  the  industry  and  we  who  are  connected 
with  it.  Yet  nothing  "flowers"  a  beautiful 
short  quite  as  lastingly  as  pretty  gals. 

Of  course  one  might  say  that  other  cast- 
ing up  here  is  better,  out  on  some  lake  or 
stream,  after  speckled  beauties  of  the  mer- 
maid class.  Yes,  the  fishing  is  excellent 
here  in  the  vacation  land  that  has  every- 
thing. 

Leon  Shelley,  the  producer  and  our 
pleasant  boss,  is  the  type  of  workman  who 
believes  whole-heartedly  in  the  adage  that 
"ones  best  work  is  that  which  one  enjoys 
most."  No  wonder  I  love  it  here;  myself 
and  others  enjoying  our  hobby  and  getting 
paid  for  it.  To  think  some  folks  work 
and  save  all  their  lives  to  do  things  in 
their  spare  and  retiring  years,  that  we  do 
every  day,  and  have  done,  all  this  happy 
life ? 

Oh  yes,  CASTING.  Well  it  all  goes  back 
to  those  days  of  successful  pictures  with 
Jerry  Fairbanks  and  Bob  Carlisle  who  pro- 
duce those  top-notch  shorts,  "Popular  Sci- 
ence" and  "Unusual  Occupations,"  also  in 
glorious  and  magic  breath-taking  super- 
natural color.  We  don't  get  it  either,  but 
color  pictures  are  fun,  and  often  quite 
pretty,  especially  if  the  casting  is  adroitly 
done — beforehand. 

Jerry  and  Bob  well  know  the  advantage 
to  every  film  of  gorgeous  gals  and  femi- 
nine pulchritude,  as  Jerry  calls  it.  They 
always  stressed  that  angle.  I  took  it  to 
heart  and  once  overdid  myself,  overtrained, 
or     something.      An     assingment     arrived 


from  them  in  Hollywood  as  I  lolled  on  the 
sands  at  Provincetown,  Massachusetts,  out 
on  the  tip  of  Cape  Cod.  Seems  a  verv  nice 
lady  had  hit  on  the  hot  idea  of  utilizing 
plain  old  fish  nets  for  ladies  wear.  Painted, 
lacquered,  or  dipped  in  gold,  those  nets 
made  glamorous  turbans,  belts,  evening 
gowns,  bathing  suits  and.  OH,  BOY,  play 
suits.  .  .  . 

What  a  picture  the  imagination  conjured 
up  .  .  .  and  immediately!  So  I  looked  into  it 
and  wrote  a  script.  Then  to  casting.  I 
called  on  several  ladies  who  ran  local 
clubs  and  eating  emporiums.  They  knew 
everyone  in  town  as  well  as  from  else- 
where. I  asked  for  several  gals  to  act  and 
model  in  my  chosen  fish  net  oufits.  Twenty- 
four  showed  up.  I  was  told  how  important 
it  was  not  to  hurt  anyone's  feelings  so  I 
shot  film  on  all.  It  was  a  good  picture,  but 
drew  forth  a  classic  wire  from  Jerry,  to- 
wit,  and  with  wit,  thus: 

"Have  just  viewed  with  amazement  your 
film  on  the  lady  with  the  fish  nets.  You 
devoted  exactly  seventy-eight  feet  to  the 
star.  The  balance  of  your  eight  hundred 
feet  coverage  was  entirely  devoted  to  what 
we  are  titling  Fernstroms  Follies  of  1938." 

For  months  after  that  experience  I  was 
kept  on  such  assignments  as  United  States 
Submarines,  High  Altitude  Aerial  jobs  and 
General  Motors  Proving  Grounds,  as  well 
as  Texas  Rangers.  Not  a  girlie  show  until 
Valentine's  Day. 

Last  year,  finally,  when  Shelly  and  I 
toured  thousands  of  miles  through  British 
Columbia  shooting  material  for  Columbia 
Pictures'  "Beautiful  British  Columbia,"  an- 
other grand  chance  offered  itself  for  deft 
casting.  The  results  were  quite  startling. 
It  seems  they  have  a  setup  here  to  build 


Trooper  taking  a  hurdle,  "Here  Comes  the  Cavalry."  liy  Clifton  L.  Kling 


By  Ray  Fernstrom 

up  the  form  and  figure  of  the  mass  of 
healthy  young  people  in  this  vicinity, 
called  Pro-Rec,  Provincial  Recreation  Ac- 
tivities, going  in  for  mass  gymnastics  and 
mass  bending,  hopping,  jumping  and  kick- 
ing. Really  a  spectacular  show  as  all  the 
gals  wear  pretty  blue  silk  shorts  and  jack- 
ets. It  took  a  week  to  get  the  group  to- 
gether, but  with  Shelly's  patience  we  man- 
aged to  set  a  date  and  place.  SIX  HUN- 
DRED AND  FIFTY  GIRLS  showed  up  in 
their  blue  outfits  and  a  group  of  men. 
Never  did  count  'em. 

As  a  matter  of  fact  I  didn't  know  they 
were  there  until  I  saw  the  picture.  After 
we  covered  the  mass  movements  I  was  sud- 
denly struck  with  a  brilliant  idea.  (Maybe 
it  was  the  sun.)  Why  not,  thought  I,  make 
a  scene  to  end  all  scenes  of  gals  in  a  line? 
Roxy  had  his,  Ziegfeld  his,  and  the  Music 
Hall  theirs,  so  why  shouldn't  Shelly  and 
Fernstrom  have  theirs?  We  lined  up  those 
six  hundred  and  fifty  girls  and  made  a 
shot  down  the  line.  History  was  being 
made.  Didn't  I  say,  "This  is  the  vacation 
land  that  has  EVERYTHING"? 

This  year  we  are  up  here  shooting  an- 
other; bigger,  better  super-colossal  short, 
for  just  as  Ralph  Staub  says  he  is  long  on 
shorts,  we  are  longer,  stronger  and  go  much 
farther  to  get  ours.  This  year  we  should 
improve.  Ed  Taylor  is  up  here,  too,  in 
charge  of  the  various  and  interesting  shorts 
Vancouver  Motion  Pictures  turn  out. 

Casting  this  year  is  done  in  the  same 
manner  I  used  when  I  joined  the  hundreds 
of  others  who  discovered  Linda  Darnell. 
That  was  down  Dallas,  Texas,  way.  I 
needed  a  cute  little  girl  who  could  put  over 
in  pantomime  a  rapid  bit  of  acting  in  be- 
tween a  series  of  fast  lap  dissolves  in  the 
camera.  Following  fashion  shows,  por- 
ing over  newspaper  files,  calling  on  com- 
mercial photographers  and  theatre  man- 
agers I  finally  heard  of  a  girl  through 
Taylor  Byars,  a  top-notch  commercial 
cameraman.  He  brought  her  over,  Monetta 
Darnell,  who  struck  me  as  a  "natural" 
immediately.  She  had  been  to  Hollywood, 
had  a  screen  test  and  sent  home  to  grow 
up.  I  couldn't  understand  how  such  a 
thing  could  happen.  She  said  she  photo- 
graphed "too  young."  I  used  her  and  gave 
her  a  high  front  key  light  that  narrowed 
her  pretty  round  baby  face.  That  did  the 
trick  and  she  is  now  a  Hollywood  star  go- 
ing places  fast. 

In  addition  to  the  above  methods  we  are 
running  a  talent  search  in  all  the  local 
papers,  so  we  expect  not  only  to  cast  this 
epic,  but  perhaps  locate  some  talent  inter- 
esting to  you  scouts  at  home,  for  this  land 
here  certainly  develops  a  gorgeous  crop 
of  cuties. 


» 


SPEED  GRAPHIC  ...  The  Stdi 

Camera  for    Action  Pictures! 


TOP-FLIGHT  stills  require  a  superb  combination  of  pictorial  quality  and 
story-telling  action.  That's  exactly  what  David  H.  Mann  caught  in  his  Speed 
Graphic  picture  "Round-up"  shown  above.  In  fact,  these  elements  made  his  pic- 
ture a  prize-winner  in  the  Action  Class  of  the  Graflex  Golden  Anniversary  Picture 
Contest.  For  stills  with  real  box  office  appeal,  standardize  on  Speed  Graphic  cameras. 

You'll  find  the  new  third  edition  of  Graphic  Graflex  Photography  a  real 
addition  to  your  reference  library.  It  contains  more  than  400  pages,  28  chapters 
and  hundreds  of  illustrations.  Only  $4.00  at  your  Dealer's. 

When  in  New  York  City,  Rochester  or  Los  Angeles,  you  are  cordially  invited 
to  visit  the  Graflex  Display  Rooms. 


Anniversary  SPEED  GRAPHIC 

For  all-purpose  picture-taking  day  or  night. 
Price  of  either  the  5l/4x4y4  or  4x5  with  Amer- 
ican-made Kodak  Ektar  f/4.7  lens,  $123.50. 
You  may  purchase,  if  you  wish,  on  a  down  pay- 
ment through  your  Dealer  as  little  as  $2b.50. 


FREE  GRAFLEX  CATALOG 

For  further  information  concerning  Graflex  and  Speed 
Graphic  American-made,  Prize-Winning  Products,  get  the 
Graflex  catalog.  Free  at  your  Dealer's  or  from  us.  Folmer 
Graflex  Corporation,  Dept.  IP-3,  Rochester,  N.  Y.,  U.  S.  A. 


GRAFLEX 

AMERICAN-MADE 


'CAMERAS 


International  Photographer  for  June,  1941 


WARNER   bROS.   MAQAZINE   prlOTOQRApllERs'   CONTEST 


GOERZ 

KINO-HYPAR 
LENSES 

f:2.7  and  f:3 


for     regular     and     color 

movies  of  surprising 

quality.   High   chromatic 

correction  .  .  . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur    and 

Professional  Movie  Cameras. 


COERZ   Reflex   FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free    FOCUSER 
and    FIELD    FINDER    CONTROL 

for   Filmo    121    and   Simplex-Pockette,    no    more 
off-center  pictures,  magnifies  4  and  8x. 
For  Detailed  Information   Addreti 
Dept.  IP  <> 

i    C.  P.  Coerz  American  Optical  Co. 

317    East   34th   St.,    New   York  ( 

American    Lens    Makers    Since     1899 


Left:  Jack  Alhin,  photographer  for  Screen  Guide  Magazine  won  second  place  in  Warner 
Bros.  Magazine  Photographers'  Contest  with  this  still  of  Edward  G.  Robinson  milking  a 
cow.  Right:  First  prize  in  the  "Idea"  class  was  awarded  Charles  Rhodes  of  Fawcett 
Publications  for  this  still  of  Ann  Sheridan  and  Cesar  Romero  which  was  titled  "Sewing 
Circle,"  made  in  Ann's  home. 


The  Winners,  left  to  right:  Bruce  Bailey.  Click  Magazine;  Mel  Traxel,  Hollywood  Pic- 
torial; Frrol  Flynn,  who  awarded  the  prizes;  Jack  Albin,  Screen  Guide  Magazine;  Art 
Carter,    Hollywood    Pictorial   and    Charles    Rhodes,    Fawcett    Publications. 


10 


International  Photographer  for  June,  1941 


11 


A  soldier  in  the  newest  branch  of  Uncle  Sam's  fighting  forces, 
the    501st    Parachute    Hattalion.       Still    by    Oliver    Sigurdson. 


12 


UincIe  Sam's  Parachute  BattaUon 


By  Guy  Newhard 


One  of  the  most  outstanding  assignments 
of  the  past  few  years  was  the  location  to 
Fort  Benning,  Columbus,  Georgia.  RKO 
Radio  Pictures  Studio  sent  a  large  tech- 
nical crew  there  during  March  to  photo- 
graph scenes  and  backgrounds  for  their 
forthcoming  picture,  "Parachute  Battal- 
ion." The  story  is  an  original  by  John 
Twist  and  Major  Hugh  Fite,  U.  S.  Air 
Corps,  directed  by  Leslie  Goodwins,  and 
will  star  Robert  Preston,  Nancy  Kelly,  Ed- 
mond  O'Brien  and  Harry  Carey. 

With  the  exception  of  three  preliminary 
recruiting  scenes  laid  in  a  poor  home  in 
the  South,  a  big  business  man's  office,  a 
recruiting  office  proper,  and  one  sequence 
on  a  railroad  train,  the  entire  balance  of 
the  picture  takes  place  in  and  around 
Fort  Benning,  Georgia,  the  actual  home  of 
this  country's  only  parachute  corps,  the 
501st  Parachute  Battalion. 

This  is  the  first  depiction  of  that  intrepid 
group  of  volunteers  who  have  dedicated 
their  lives  to  this  newest  branch  of  Uncle 
Sam's  fighting  forces. 

Thematically,  the  story  deals  with  three 
young  men  drawn  from  widely  different 
walks  of  life  and  of  diverse  temperaments, 
drawn  into  the  mutating  crucible  of  Army 
life.  Here  is  depicted  in  gripping  detail 
three  lives  through  the  entire  training 
course  up  to  and  including  the  final  heart- 
stopping  tests  that  will  certifiy  them  as 
full-fledged  parachute  troops,  trained  and 
fit  for  one  of  the  most  rigorously  demand- 
ing branches  of  the  service. 

Interwoven  with  the  thrills  and  drama 
of  the  subject  are  the  human  values, 
comedy,  romance,  hopes,  dreams,  ambi- 
tions,   joy,    pathos,    success    and    failure. 

The  authenticity  of  the  picture  makes  it 
a  visual  chronicle  of  life  in  a  branch  of 
the  service,  a  record  and  an  example  for 
the  youth  of  the  nation  who  may  find 
themselves  in  the  near  future  members  of 
our  armed  forces. 

When  photographing  in  the  air  or  from 
the  ground  toward  the  sky,  clouds  really 
are  essential  and  necessary.  Without  them, 
sense  of  motion  and  speed  is  lost.  It 
rained,  it  snowed  and  rained  some  more 
and  when  we  got  a  break  in  the  weather, 
there  would  either  be  no  clouds  or  the  wind 
would  be  too  great  for  the  boys  to  make 
their  jumps.  Nevertheless,  during  the  three 
weeks  we  were  there  some  exceptionally 
beautiful  scenes  were  made  and  "Para- 
chute Battalion"  will  be  an  extraordinarily 
pictorial  picture. 

Great  care  was  taken  with  filters.  Have 
you  ever  seen  the  ground  in  Georgia?  It 
is  brick  red  and  with  too  heavy  a  filter, 
especially  in  the  reds,  the  ground  would 
become  greatly  over-corrected,  but  all 
cameras  used  a  25   (red)   filter  when  pho- 


tographing in  the  air  and  of  all  parachute 
jumps. 

Our  photographic  equipment  consisted 
of  three  Mitchell  cameras,  two  Eyemos 
and,  through  the  courtesy  of  the  U.  S.  Air 
Corps,  we  also  had  several  Akeleys  and 
more  Eyemos. 

Maj.  Fite  has  quite  a  large  motion  pic- 
ture unit  and  his  cameramen,  Messrs.  Hag- 
germeyer,  Andres,  Rossi  and  Sgt.  Fritz 
were  of  great  assistance.  A  great  many 
important  scenes  photographed  by  them 
will  be  used  in  the  picture.  This  is  done 
by  the  army  for  propaganda  and  publicity 
purposes  and  the  motion  picture  companies 
are  more  than  glad  to  cooperate  with  our 
national  guardians. 

This  article  was  intended  as  a  photo- 
graphic story  for  this  magazine,  but  the 
modern  Parachute  Battalion  is  so  new  and 
of  such  universal  interest  I'll  let  myself 
run  away  from  the  camera  angle  and  tell 
you  some  of  the  important  things  about 
these  boys. 

The  Army,  in  building  up  its  parachute 
troops,  has  to  depend  on  volunteers,  can- 
not draft  men.  So  it  was  delighted  with 
the  prospect  of  getting  publicity  through 
a  movie  thriller,  kept  Director  Goodwins 
a  month,  sent  him  home  with  a  technical 
adviser  and  30,000  feet  of  film  showing 
the  troops  in  action  which  all  but  takes 
your  breath  away. 

The  most  exciting  scenes  of  this  will  be 
used  in  "Parachute  Battalion,"  making  that 
movie  the  most  authentic  of  its  kind  ever 
filmed. 

Captain  William  Ryder,  one  of  the  orig- 
inal organizers  of  the  Battalion  was 
brought  to  Hollywood  as  Technical  Ad- 
viser for  the  picture.  It  was  Capt.  Ryder 
who  made  many  of  the  picture's  exception- 
ally daring  jumps. 

He  helped  select  all  the  troopers  for  the 
background  roles  according  to  Army  stand- 
ards. He  supervised  manufacture  of  the 
parachute  troop  uniforms  and  equipment, 
all  vastly  different  from  any  in  other 
branches  of  the  armed  services. 

Troopers,  for  instance,  all  wear  special 
4-pound  boots,  with  ankle  braces  and 
sponge  rubber  pads.  As  the  captain  points 
out,  a  parachutist  would  be  no  good  in  war 
time  if  he  sprained  an  ankle. 

By  special  dispensation,  the  officer  even 
obtained  from  Fort  Benning  the  loan  of 
regulation  parachutes.  They  were  guarded 
like  gold  dollars,  locked  in  a  safe  every 
day  after  use  before  the  camera. 

"I've  seen  Service  pictures  at  times," 
said  Captain  Ryder,  "that  contained  some 
very  funny  boners.  So  I'm  determined  that 
when  soldiers  laugh  at  this  picture,  they'll 
laugh  only  in  the  right  places." 

Fort  Benning,  Georgia  is  98,000  acres 
big    and    I    understand    they    are    adding 


50,000  more  on  the  Alabama  side  of  the 
river.  That,  I  think,  will  be  the  largest 
Fort  in  the  world.  It  has  the  Infantry 
school  there  as  well  as  other  branches  of 
the  Army.  Fort  Benning,  at  present  is 
65,000  soldiers  strong,  including  many 
selectees  and  regulars. 

If  you  are  single  and  21  to  31  years  of 
age  and  have  had  at  least  a  year  of  In- 
fantry training  and  a  Private  First  Class, 
you  are  eligible  to  volunteer  for  Parachute 
Battalion.  Most  of  the  officers  are  West 
Point  men  and  have  had  extensive  army 
service.  At  present  there  are  about  500 
in  all  assigned  to  the  Battalion.  Everyone 
jumps,  except  a  few  of  the  administrative 
overhead,  but  they,  too,  want  to  be  one  of 
the  gang  and  usually  jump  voluntarily. 
Since  the  Battalion's  inception,  collectively, 
over  3,000  successful  parachute  jumps 
have  been  made. 

When  the  boys  transfer  over  to  the  Bat- 
talion from  the  Infantry  they  are  given 
from  six  to  eight  weeks  ground  training. 
They  are  drilled,  given  calisthenics,  such 
as  jumping  from  various  heights,  tumbling, 
rolling  over,  etc.  An  important  factor  is 
in  landing  under  all  conditions  and  natur- 
ally much  stress  is  put  upon  this  phase, 
but  more  important  is  parachute-packing. 
The  boys  roll  their  own.  A  three  by  forty 
foot  table  is  used  for  packing  and  this  is 
done  most  carefully  by  each  man,  as  his 
packing  is  his  life  insurance. 

Eventually,  they  take  to  the  air  first  only 
for  a  ride  and  often  times,  to  many  of  the 
boys,  it  is  their  first  airplane  experience. 
The  next  time  they  go  aloft,  they  are  told 
to  jump.  It  is  generally,  the  first  time,  at 
1500  feet.  They  can  refuse,  but  if  asked 
the  second  time  and  still  refuse,  they  auto- 
matically wash  themselves  out  of  the  Bat- 
talion and  return  to  the  Infantry.  Consid- 
ering how  young  the  Battalion  is  and  the 
number  of  jumps  that  have  been  made, 
very  few  men  have  refused. 

All  precautions  are  taken  before  taking 
off  and  the  men  and  equipment  are  sub- 
ject to  severe  inspection  at  all  times.  Each 
man  wears  two  'chutes,  the  main  one  at- 
tached to  his  back.  It  is  opened  after  leav- 
ing the  ship  by  a  trailing  static  line,  which 
is  fastened  within  the  ship,  thus  insuring 
100%  efficiency  in  opening.  The  other 
'chute  is  worn  across  their  chest,  for  emer- 
gency. Occasionally  this  has  to  be  used,  but 
not  often,  and  the  jumper  lands  safely. 

The  sixth  parachute  jump  is  graduation, 
as  a  parachute  jumper,  and  then  they  re- 
ceive their  wings  and  parachute  pin. 

Remember  in  warfare  or  any  other  time, 
the  'chute  is  only  a  means  of  transporta- 
tion and  after  landing  the  man  must  be  a 
good  soldier,  one  with  great  resource  and 
initiative,  a  power  of  taking  the  lead. 

After  graduation  they   continue   further 


International  Photographer  for  June,  1941 


13 


'PARACHUTE  BATTALION,"  RKO  RADIO  PRODUCTION 


p> 

ML*             P~ 

■     i,  ^^ 

Hkt  !hms 

\    * 

Jmr-s-  ••  s^K*  "" 

K""^^*.     :-^] 

«v^  . 

JHJK'"        'w  *  J| 

. 

I^*» 

Mi  rfl  ft 

HL       BR 

w 

_»■>%»'     Tfrtsr 

*  '% 

*_     %_ 

• 
- 

Jump  Masters 


Ready    to   go   up 


Equipment   carried 


Interior  of  transport  plane 


Formation   in   three   lines    (used   to   he   four) 


Jumpers   leaving  planes 


14 


Oliver  Sigurdson,  stills    (Shot  with  a  Graflex) 


Lined   up  for  inspection 


Landing 


Another  interior  view  with  jump  masters  in  foreground 


All  down — no  casualties 


All  out! 

International  Photographer  for  June,  1941 


And  so  ends  the  day 


15 


with  jumps,  tests,  training  and  drilling  for 
the  important  part  of  their  job,  that  is, 
their  work  in  hack  of  the  enemies'  lines. 

Motion  pictures  are  made  from  the  air 
and  from  the  ground,  of  practically  every 
jump.  High  speed  cameras  have  been  of 
great  help  in  picking  out  minute  flaws  and 
the  movie  camera  has  become  an  indispen- 
sable medium  of  visual  education  for  all 
branches  of  the  U.  S.  Military  Service. 

If  you  would  like  to  enjoy  the  thrill  of 
landing  with  a  'chute,  try  stepping  off  the 
top  of  your  car,  backwards,  while  traveling 
ten  miles  an  hour. 

I  understand  the  Parachute  Battalion 
has  proven  itself  most  successful,  through 
all  tests,  and  will  be  alloted  an  enlistment 
of  3,000  or  more  men. 

I  said,  we  had  an  outstanding  assign- 
ment, thrilling  and  daring.  In  conclusion, 
it  may  be  said  of  this  pioneer  battalion 
that  they  have  set  an  example  of  skill, 
courage  and  sound  accounting  to  the  en- 
tire nation,  all  of  which  will  be  set  forth 
in  detail  in  RKO's  "Parachute  Battalion." 

HAPPY  LANDINGS,  PARACHUTE 
BATTALION. 


Old  qUARd  AS  EXTRAS 


Not  only  of  Napoleon's  veterans  can  it 
be  said  that  the  Old  Guard  dies  but  it 
never  surrenders.  Hollywood  has  its  gal- 
lant Old  Guard  too — and  they  came  to  Al- 
fred Hitchcock's  movie  ball. 

The  famous  director  wanted  to  film  a 
ball  for  a  sequence  in  RKO  Radio's  "Be- 
fore the  Fact"  which  would  bring  to- 
gether his  co-stars,  Cary  Grant  and  Joan 
Fontaine. 

"Get  me  the  best  dress  extras  in  town," 
he  ordered.  "The  best  in  looks  and 
ability." 

So  the  call  went  out,  and  the  extras 
flocked  in,  for  that  $16.50  check  each  day 
was  tempting  bait. 

Among  them  came  faces  once  blazoned 
across  the  screens  of  the  world,  bearing 
proud  names  which  used  to  gleam  in  lights 
on  the  marquees  of  theatres  the  world 
around. 

Eva  Novak.    Remember  her?    She  used 


to  play  opposite  the  he-men  of  the  silent 
screen  -  -  Thomas  Meighan,  William  S. 
Hart,  Tom  Mix,  Jack  Holt.  She  danced 
with  Lou  Payne,  once  Mrs.  Leslie  Carter's 
husband. 

Dagmar  Oakland  was  there — once  glori- 
fied by  Ziegfeld.  And  Mrs.  Snitz  Edwards. 
Lloyd  Ingraham,  who  used  to  direct  Mary 
Miles  Minter.  Carl  Levinus  and  Howard 
Davies,  former  directors,  too.  Others: 
Larry  Steers,  who  used  to  be  the  heavy  in 
Ruth  Roland  serials;  Frank  Raymond, 
opera  singer;  Henry  Hebert,  who  support- 
ed Myrtle  Stedman  and  Sessue  Hayakawa 
in  "Black  Roses." 

There  were  many  more.  But  these  give 
the  idea. 

Stardom  may  fade,  fame  depart.  But 
the  players  stay. 

Said  one:  "We  make  out  all  right.  It's 
fun  to  watch  the  game  without  having  to 
struggle." 


lp|H'r  left:  INew  United  States  Rifle  M-l,  Curand,  30  cal.,  semi-automatic;  right:  method  of  wrapping 
rifles  in  hlanket  to  drop  from  plane  hy  'chute;  lower:  camera  crew,  including  Guy  Newhard,  Roy  Hunt, 
Harold  Wellman,  Emmett  Bergholz,  Russ  Cully,  some  members  of  Local  666,  Chicago,  and  Civil  Service 
Cameramen   working  for  the   United   States  Army. 

16 


They  SAy 


*** 


By  RELLA 


•  In  South  Carolina  with  the  Paramount 
crew  are  Dewey  Wrigley  and  William 
Skall,  first  cameramen;  Bill  Rand,  second; 
Ed  Soderberg,  assistant  and  Richardson, 
still  cameraman. 

•  A  new  team  in  the  field  seems  to  be 
John  Alton  and  Harvey  Gold. 

•  Irving  Glassberg  seriously  studying 
guitar. 

•  Our  deepest  sympathy  to  Ernie  Miller 
and  Victor  Milner  in  the  loss  of  their  be- 
loved wives. 

•  The  passing  of  Oliver  Marsh  was  a  se- 
vere shock  to  the  entire  industry. 

•  Eddie  Fernandez  who  used  to  be  a 
member  of  Local  659  is  now  official  cor- 
respondent for  International  Photographer 
in  Mexico  City.  Eddie  is  doing  a  good  job 
in  fostering  good  will  relations. 

•  Lee  Garmes  and  Hal  Mohr,  both  Acad- 
emy Award  winners  on  the  same  lot,  Gen- 
eral Service  Studios. 

•  Off  to  the  Bahamas  for  Paramount 
Productions  we  find  Leo  Tover,  whose  mar- 
riage is  still  more  or  less  a  secret,  Allen 
Davey  and  Harry  Perry,  first  cameramen; 
Guy  Roe,  second;  Sidney  Zipser  and  John 
Gustafson,  technicians;  Junios  Stout  and 
Will  Cline,  assistants  and  Don  English, 
stillman.  The  way  Allen  Davey  travels  he 
runs  a  close  second  to  Dewey  Wrigley. 

•  Fred  Detmars  back  in  Hollywood  and 
proud  of  it. 

•  Mack  Stengler  was  a  chief  machine 
gunner  in  World  War  No.  1. 

•  Interesting  is  it  to  note  that  on  a  re- 
cent shot  at  the  Naval  base  in  San  Diego 
where  Warner  Bros.'  "Dive  Bomber"  is 
being  made,  the  following  men  were  en- 
gaged in  the  shooting  of  an  important 
scene:  Winton  Hoke,  Duke  Green,  Art  Ail- 
ing, Charlie  Marshall,  Elmer  Dyer,  first 
cameramen;  Cal  Western,  John  Polito, 
Michael  Joyce  and  Wally  Chewning,  sec- 
onds; Paul  Hill,  Earl  Metz,  Duke  Callahan. 
Henry  Imus  and  Al  Kline,  assistants;  Rod 
Tolmie,  Don  Nickerson,  Eddie  Wade,  Ken 
Hunter,  Kay  Norton  and  Phil  O'Neil,  as- 
sistants. 

•  In  Florida  for  RKO  are  Paul  Eagler, 
first  cameraman  and  Johnnie  Eckert,  as- 
sistant. 

•  Leaving  for  El  Centro  for  RKO  for 
about  three  weeks  are  J.  Roy  Hunt,  first 
cameraman;  Ed  Pyle  and  Jim  Daly,  sec- 
onds; L.  Haddow  and  G.  Wheaton,  assist- 
ants. 

•  Lucien  Ballard  at  Twentieth  Century 
Fox  with  his  ever  reliable  second,  Lloyd 
Ahern. 

©  Wally  Chewning  boasting  of  a  baby 
girl. 


•  Faxon  Dean's  son  Kenneth  is  in  the 
United  States  Army  Air  Corps.  Faxon  was 
a  flyer  in  the  first  world  war  and  was  over- 
seas seventeen  months. 

©  Len  Powers'  son  is  a  petty  officer  on  the 
Battleship  U.  S.  S.  North  Carolina. 

•  Archie  Stout,  first  cameraman;  Bill 
Clothier,  second  and  Paul  Cable,  assistant, 
at  Fort  Bragg,  North  Carolina,  working  on 
a  defense  picture  dealing  with  army  how- 
itzers. 

©  Andre  Barlatier  spent  some  time  at  Mt. 
Hood,  Washington,  working  on  background 
and  atmosphere  shots  for  a  new  Ruggles 
picture,  Columbia  release.  With  him  were 
Lee  Davis,  second;  Joe  Citron,  T.  F.  Jack- 
son and  Byron  Seawright,  assistants  and 
John  Jenkins,  still   cameraman. 

•  Fleet  Southcott  who  is  on  the  receiving 
end  of  the  battery  of  Neumann  and  South- 
cott is  a  cattleman  in  his  spare  time. 

•  In  from  Ocala,  Florida,  are  Wilford 
Cline,  Lloyd  Knectel,  William  Cline,  A.  C. 
Riley,  Jimmie  Manatt  and  Fred  Detmars. 
Remaining  at  the  location  are  Charlie 
Boyle,    Ray    Ramsey,    Mark    Davis,    Rube 


Boyce,  Al  Baalas,  Kenneth  Mead  and  some 
of  the  boys  of  Local  666,  Chicago. 

•  Charles  ("Chuck")  Geissler  shooting 
second  at  Warner  Bros,  in  the  Special  Ef- 
fects Department. 

•  Dwight  Warren  operating  television 
camera  at  the  fights  and  baseball  games. 

•  Our  sympathy  to  the  family  of  Norton 
C.  ( "Doc" )  Travis  who  passed  on  May 
23.  Doc  was  among  the  first  members  in 
Local  659. 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,    Developing   Machines,   Bipack 
Color  and  Black  and  White  Printers,  Re- 
winds. 
Special    Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:    "CINEBARSAM" 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


EASTERN  HEADQUARTERS  for  the  CAMERAMAN 


Professional  Studio  &  Cutting  Room  Equipment  Always  Available 


BELL  &  HOWELL       MITCHELL 


WALL 


Standard,    Hi-Speed,    Process      Standard,  Hi-Speed,  Silenced      Latest    Model    Single    System 
and   Eyemo  Cameras  and    NC  Cameras  Sound   Cameras 


WE  SPECIALIZE  in  REPAIR  WORK  on  MITCHELL  and  BELL  &  HOWELL  CAMERAS 


Interlock,   Synchronous,   Hi-Speed   and   Variable   Speed   Motors  with  Tachometers 

FEARLESS    BLIMPS   —    FEARLESS   and    BABY    PANORAM    DOLLYS 
35  mm.  Double  System  Recording  Equipment 

COOKE   SPEED   PANCHRO   and   ASTRO   PAN   TACHAR  LENSES— all  focal  lengths 
MOVIOLAS  SYNCHRONIZERS  REWINDS  TRIPODS 


FRANK-ZUCKER  CABLE  ADDRESS:  CINEQUIP 


^^  rr.Mr.rv-i.uv.rvr^  CABLE  ADDRESS:  CI N EQU I P 

[fAMERA   EQUIPMENT 

\i&      1600   BROADWAY  nyc  \  CI.rcle   6-50&0 


International  Photographer  for  June,  1941 


17 


usiNq  The  exposure  meter 


In  any  discussion  of  exposure  meters 
emphasis  should  be  placed  on  the  erron- 
eous belief  that  by  simply  owning  an 
exposure  meter  you  will  get  perfect  pic- 
tures. An  exposure  meter,  when  used 
correctly,  is  a  means  whereby  perfect 
exposures  can  be  made.  It  should  be 
remembered  that  the  meter  is  an  accurate 
light-measuring  instrument,  and  that  cor- 
rect measurements  must  be  taken  to  obtain 
the  results  which  will  permit  exposing  for 
perfect  pictures. 

Photographic  materials  have  come  a 
long  way  since  the  development  of  the  first 
sensitive  emulsion,  and  figure  1  represents 
the  curve  as  plotted  of  a  typical  film 
emulsion.  Theoretically,  a  perfect  film 
would  have  a  line  that  runs  diagonally, 
but  because  we  do  not  have  this  film,  we 
have  to  modify  our  exposure  meters  to 
take  into  account  the  characteristics  of  the 
films  we  now  have  to  take  pictures  with. 
The  film  curve  shown  represents  a  typical 
scene  as  it  is  analyzed  by  the  scientists  in 
the  Sensitometric  Laboratory.  The  lower 
end  of  the  curve  represents  the  shadow 
portion  of  the  film,  the  straight  portion  the 
contrast  between  the  dark  and  light  part 
of  the  picture,  and  the  extreme  end  of  the 
curve  represents  the  highlights,  or  the 
greatest  deposits  of  silver  on  the  film. 
The  curve  representing  the  character- 
istics of  a  film  is  not  a  fixed,  permanent 
thing,  but  something  which  is  movable  by 
means  of  exposure,  development,  and  light 
conditions.  Correct  exposure  combined 
with  correct  development  will  provide  a 
perfect  negative. 

One  of  the  immediate  problems  that 
comes  up  in  the  development  of  exposure 
meters  is  the  correlation  of  this  curve  to 
exposure  meters.  This  is  done  in  terms  of 
film  speed  or  film  values.  One  of  the 
earliest  systems  of  rating  film  was  the 
Scheiner  system,  which  rated  the  film  by 
measuring  the  threshold  point  of  the  curve. 
(Fig.  I).  There  was  a  certain  weakness  to 


this  system  depending  upon  the  position 
of  the  shape  of  the  toe  and  chemical  fog. 
This  threshold  point  was  measured  by  the 
film  manufacturers,  and  in  order  to  have 
the  best  possible  product  the  most  favor- 
able value  was  used.  The  results  were  not 
too  reliable  as  a  film  speed  value.  Later, 
an  approach  was  made  by  the  German 
Government,  to  more  firmly  establish  the 
location  of  the  measurement  of  the  thresh- 
old point  I  Fig.  2)  of  the  film.  What  is 
known  as  the  DIN  system  resulted,  wherein 
the  film  speed  was  dependent  on  the 
exposure  required  to  produce  a  density  of 
.1,  but  the  methods  of  this  system  did  not 
specify  an  exact  developing  technique. 
Since  a  change  in  developer  can  cause  a 
modification  in  the  curve  of  this  line,  this 
system  is  weak.  In  the  first  part  of  the 
twentieth  century  in  England,  Messrs. 
Hurter  and  Driffield  did  considerable 
research  on  photographic  emulsion  and 
sensitivity,  and  the  findings  made  by  them 
have  given  this  curve  a  name:  the  H  and 
D  curve  (  Fig.  1  ) .  These  gentlemen  decided 
that  a  more  reliable  means  of  measuring 
film  speeds  involved  the  determination  of 
the  inertia  point  (  Fig.  2  ) .  This  particular 
system  has  merit,  and  for  the  films,  then 
existing,  was  the  best  possible  solution  for 
determining  speeds.  The  system  is  one  of 
the  most  common  in  use  in  this  country 
today.  Film  manufacturers,  however,  in 
the  development  of  the  new  high  speed 
film,  created  emulsion  with  long  toe  por- 
tions ( Fig.  3 )  rather  than  abrupt  char- 
acteristics. These  negative  materials  had 
H  and  D  curves  with  a  long  curved  toe 
portion,  with  a  gradually  curved  shoulder, 
and  with  scarcely  any  straight  line  portion 
in  some  cases.  We,  therefore,  have  a 
condition  where  there  is  no  straight  line 
portion  to  measure.  Another  disadvantage 
is  that  occasionally  the  straight  line  por- 
tion of  a  fast  film  is  exactly  the  same  as 
that  of  a  slower  film,  thus  this  system 
would  give  no  indication  of  the  actual  film 


By  Glen  C.  Anderson, 
General  Eleetrie  Company 

speed.  Therefore,  in  the  development  of 
the  General  Electric  film  rating  system  we 
have  made  a  compensation  of  the  toe 
portion  and  the  straight  line  portion  of  the 
curve  and  assigned  proper  film  values.  It 
is  to  be  remembered  that  film  values  are 
assigned  to  films  under  laboratory  condi- 
tions for  average  results.  Individuals  may 
and  do  vary  film  ratings,  because  of 
personal  preferences  for  a  specific  density 
of  negatives.  It  can  therefore,  be  said  that 
the  exposure  meter  is  an  accurate  light 
measuring  instrument,  and  the  film  values 
that  are  assigned  can  be  modified  within 
the  range  allowable  in  order  to  produce 
a  negative  that  most  suits  your  needs. 
Also,  an  enlarger,  that  has  condensing 
lenses  in  it  can  use  a  negative  of  less 
contrast  than  an  enlarger  of  the  different 
type  of  illumination  system. 

Theoretically,  the  perfect  exposure  has 
the  shadow  portion  at  the  lower  end  of  the 
curve,  and  the  high  light  at  the  upper  end 
of  the  curve.  Under  certain  specific  con- 
ditions it  is  impossible  to  get  such  a  range 
of  light  on  the  film  because  the  intensity 
of  light  is  beyond  its  range.  Average 
photographic  emulsions  can  record  a 
brightness  range  of  128  to  1 .  In  some  cases 
the  brightness  range  is  considerably  higher 
than  this,  but  for  most  exterior  scenes  it 
is  in  the  neighborhood  of  40  or  50  to  1. 
With  this  type  of  lighting  being  the  general 
condition  we  do  have  some  leeway  in  the 
placement  of  our  exposure  on  our  photo- 
graphic emulsion.  Many  benefits  will  be 
derived  from  correct  exposure  and  best 
results  will  result  when  the  maximum  film 
value  is  used. 

An  over-exposure  will  cause: 

1.  Larger  grain  on  the  film. 

2.  Loss  of  detail  in  highlights. 

3.  Contrast  loss. 

1.    A  flat  type  of  negative. 

5.  Need  for  long  printing  time. 

6.  Reddish  hue  in  color  films. 


2.8 
2.6 

2.4 
2.2 
2.0 

1.8 

1.6 
1.4 
1.2 
1.0 
.8 
.6 
.4 


THRESHOLD 


LOG     EXPOSURE 


;="<>  I 


2.8- 

2.6- 
2.4- 

>- 
i- 

2.2- 
2.0- 

V) 

z 
111 
o 

18- 

1.6- 

1.4 

1.2 

1.0 

GENERAL   rtECTR/C 

.8  - 
.6- 

O/A/ 
D£f*s/rr  =  / 

A* 

.2 

J                             LOG     EXPOSURE 

4      3    3             2 

V    ~l              ° 

i              I             l               i              i 
12            3             4             5 

3CH£/N£R 

TH/feSHOLO 

'H&D 

/A/ERTIA 

r,9n 

18 


Under-exposure  will  cause: 

1 .  Loss  of  full  scale  of  tone. 

2.  Loss  of  detail  in  shadows. 

3.  Too  high  a  contrast  in  negative. 

4.  Too  thin  a  negative  for  good  print 
quality. 

5.  Blueish  hue  in  color  film. 
Correct  exposure  results  in : 

1.  Film  of  finer  grain. 

2.  Better  definition  in  the  highlights. 

3.  Better  detail  in  the  shadows. 

4.  Sharper  definition. 

5.  Greater  depth  of  focus. 

It  is  often  said  by  many  photographers, 
especially  experienced  men — "I  don't  need 
an  exposure  meter  because  I  get  good 
results  without  one."  The  human  eye  is  an 
extremely  poor  light-measuring  device  at 
its  best.  Tests  indicate  that  the  eye  cannot 
detect  less  than  a  30%  change  in  light. 
When  reduced  in  terms  of  light,  this 
represents  a  change  in  exposure  of  one-half 
an  F  stop.  And  on  films  with  narrow 
ranges  of  latitude,  this  is  quite  a  noticeable 
difference  in  the  quality  of  the  negatives. 
It  is  also  extremely  difficult  for  the  eye 
to  correlate  the  proper  combination  of 
modern  high  film  speed,  the  F  stop  and 
shutter  speed  by  looking  at  the  light  con- 
ditions. A  bright,  blue,  clear  day  may  be 
perfectly  comfortable  to  your  eye,  and  the 
exposure  meter  will  show  that  intensity  of 
light  registers  hundreds  of  candles  per 
square  foot  brightness.  Under  other  con- 
ditions, such  as  a  hazy  day,  you  may  be 
squinting  at  scenery  extremely  brilliant 
but  the  exposure  meter  will  indicate  a 
lower  brightness  level  of  the  object,  and 
call  for  a  longer  exposure.  Haze  and 
appearance  of  the  atmosphere  causes  this 
appearance  brightness  but  it  is  not  the  kind 
of  brilliance  that  affects  the  photographic 
emulsion.  Also,  in  photoflood  interior 
lighting,  you  seem  to  have  an  extremely 
brilliant  illumination,  yet  when  measured 
with  an  exposure  meter,  it  shows  but  a 
few  candles  per  square  foot  brightness, 
which  is  an  extremely  low  level  of  illumi- 
nation. Although  the  human  eye  has  the 
ability  to  see  from  a  mere  fraction  of  a 
foot-candle,  such  as  a  moonlight  night,  to 
the  brightest  beach  or  snow  conditions,  it 
cannot  be  depended  upon  for  the  accurate 
measurement  essential  to  good  photo- 
graphic results. 

It  is  helpful  to  know  how  an  exposure 
meter  is  built,  to  obtain  the  best  possible 
results  from  it.  The  G-E  meter  has  been 
carefully  designed  to  give  the  best  results 
for  all  photographic  light  measurements. 
The  photoelectric  cell  is  made  of  an  iron 
plate  coated  with  selenium.  The  selenium 
is  covered  with  a  transparent  layer  of 
precious  metal  which  allows  light  to  go 
through  to  affect  the  selenium,  which  con- 
verts the  light  into  electrical  energy.  The 
photoelectric  cell  is  an  extremely  interest- 
ing generator,  complex  in  manufacture, 
and  how  it  works  is  a  mystery  to  our  best 
engineers.  The  perfection  of  the  present- 
day  photoelectric  cell  is  a  result  of  many 
years  of  development.  It  has  a  wider  range 


of  color  sensitivity  (see  Fig.  4),  is  stable, 
and  possesses  an  almost  indefiinite  life. 
Tests  made  in  our  laboratory  since  1932 
on  cells  indicate  a  very  slight  loss  of 
efficiency.  (Fig.  5)  In  our  life  light  test, 
cells  are  placed  under  a  laboratory  sky- 
light and  are  exposed  to  the  full  intensity 
of  the  sun  every  day  of  the  year.  If  we 
figure  rather  liberally  that  normal  use  is 
about   one   hour   per   day,   a   years   labor- 


atory   exposure    represents    a    life    of    24 
years  for  the  cell. 

The  photoelectric  cell  is  coated  with 
transparent  lacquer  before  it  is  sealed  in 
its  case.  Current  is  taken  off  of  the  cell 
through  silver  contacts  and  flows  into  a 
standard  electrical  instrument.  This  con- 
sists of  a  large  strong  magnet,  with  a  coil 
of  thin  wire  placed  in  its  magnetic  field. 
(Continued  on  page  28) 


2.8  - 
2.6  ■ 
2.4 

2.2 

k 

0^  2.0 

^    1-8 

IS  '-6 

\     1.2 

>- 

<n 

z 

Ul 

o 

usable  rof 

/?JTG/OA/      ,      \ 

i 
I 

i 

i 

LOG 

"1,0  J 

-   8  - 

.6  ■ 

—.4  - 

2  ■ 

EXPOSURE 

4 

3             2 

T 

i 
0 

1             2            3 

4             5 

SUBJ£CT  _ 
0/?/GHTN£SS 


Ftp.  EL~ 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY  DETAIL 

Immediate  Delivery 


HOLLYWOOD   USERS    CAN   ATTEST    MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

©  SENSITESTER — For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


1515  Cahuenga  Blvd. 


Cable  address:  ARTREEVES 

Hollywood,  Ccdifornia.  U.  S.  A. 


International  Photographer  for  June,  1941 


19 


l6MM.  dEpARTMENT 


WHAT  SHOULDN'T  I  DO?    (II) 

Continuing  along  on  the  premise  that  it 
is  frequently  more  constructive  to  lay  down 
rules  of  what  not  to  do  than  what  should 
be  done,  as  we  started  doing  last  month, 
we  come  to  a  problem  that  has  caused 
more  ruined  pictures  in  itself  than  many 
other  problems  combined.  DONT  SHOOT 
A  SCENE  IN  WHICH  AN  UNBALANCED 
LIGHT  CONDITION  PREVAILS.  UN- 
LESS SOME  SORT  OF  CORRECTION 
IS  INTRODUCED. 

Many  amateurs  have  come  to  us  with 
scenes — long  shots  and  close-ups,  both — 
where  part  of  the  picture  would  be 
"washed  out"  and  part  of  it  almost  black. 
If  not  completely  black.  And  want  to  know 
why  it  looked  that  way,  and  what  they 
should  have  done  to  correct  the  situation, 
or  what  they  shouldn't  have  done. 

To  give  a  little  clearer  understanding  of 
the  mechanics  of  the  problem,  let  us  take 
the  old  stand-by,  the  human  eye.  When  we 
are  walking  down  a  street  where  the  sun- 
light is  occasionally  shaded  by  objects,  and 
look  at  a  person  walking  alongside  as  he 
passes  from  the  sunlight  to  the  shadow,  we 
do  not  have  the  sensation  of  losing  all  the 
detail  of  his  features  when  he  is  in  the 
sunlight,  and  then  finding  him  so  dark  that 
we  cannot  see  him  when  he  is  in  the 
shadow.  Instead,  the  iris  of  the  eye,  acting 
as  the  diaphragm  of  a  lens  on  a  camera, 
closes  down  and  lets  less  light  into  the  eye 
when  he  is  in  the  sunlight,  and  then  opens 
up  and  permits  more  light  to  enter  when 
he  is  in  the  shadow.  When  the  eye  per- 
ceives a  large  area  that  is  partially  in  the 
bright  sunlight  and  partially  in  the  shade, 
then  the  iris  will  "compromise"  and  per- 
mit more  light  to  enter  than  is  necessary 
for  the  bright  objects  and  give  the  shadows 
a  chance  to  register,  even  though  there 
still  isn't  enough  light  admitted  from  the 
shadows  to  permit  really  good  vision.  The 
result  is  that  the  brightly  lighted  objects 
will  appear  brighter  to  the  eye,  and  those 
in  the  shade  darker  than  they  would  if 
they  were  viewed  individually.  If  the  shade 
predominates  the  iris  will  give  it  prefer- 
ence, and  we'll  be  able  to  see  objects  here 
more  easily;  but  if  sunlight  predominates, 
[hen  it  will  actually  be  difficult  to  see 
things  in  the  shade,  hecause  of  the  fact  that 
large  amounts  of  light  will  cause  the  iris 
to  react  and  close  down. 

It  is  possible  to  do  the  same  thing  with 
a  camera,  except  that  we  are  a  little  more 
limited.  In  the  eye,  when  we  look  directly 
towards  ,i  certain  objecl  or  scene  the  con- 
strue! ion  of  the  retina  of  the  eye  will  over- 
come the  effcels  of  very  great  inequalities 
by  virtue  of  the  fact  that  a  large  part  of 
the  retina  is  covered  by  a  coating  that  re- 
tards clear  vision,  lliis  coating  being  absent 
in  the  center  of  the  retina  directly  behind 
the  eyeball,  permitting  perfectly  clear 
vision  here  and  the  ability  for  the  eye  to 

20 


concentrate  on  an  object.  The  camera  dif- 
fers in  this  respect  in  that  it  records  the 
entire  scene  as  the  eye  would  see  it  without 
the  protective  covering.  This  is  the  first 
contributing  factor  to  the  "unnaturalness" 
of  the  unbalanced  picture.  The  next,  and 
perhaps  even  more  important  factor,  is  the 
mechanical  limitations  of  the  physio-chem- 
ical characteristics  of  an  emulsion. 

When  a  film  has  been  given  a  normal 
amount  of  development  there  is  a  "normal" 
range  of  exposures  for  that  film  that  will 
result  in  "normal"  densities.  In  other 
words,  if  there  are  objects  in  the  scene  that 
will  reflect  varying  amounts  of  light  to  the 
camera,  causing  varying  amounts  of  ex- 
posure on  different  parts  of  the  film,  if  the 
light  these  objects  reflect  is  of  the  amount 
to  cause  a  "normal"  exposure  on  the  film, 
then  these  variations  will  produce  propor- 
tionate variations  in  the  densities  produced 
in  the  emulsion.  When  the  exposures  fall 
below  or  go  above  this  normal  range  the 
emulsion  reacts  abnormally.  The  variations 
in  light  and  shade  produced  by  the  objects 
in  the  scene  will  not  produce  proportionate 
variations  in  light  and  shade  on  the  film, 
this  being  due  to  the  physio-chemical  char- 
acteristics all  films  possess. 

In  addition  to  this  we  have  another  fac- 
tor contributing  to  the  failure  of  a  scene 
photographed  without  consideration  for  a 
balanced  light  condition.  Let's  assume 
that  we  have  met  the  requirements  to  a  de- 
gree by  staying  within  the  limits  of  a 
"normal"  range  of  exposures,  but  that  we 
go  to  the  extremes  of  these  limits.  Such 
a  condition  could  obtain  where  the  extreme 
highlights  and  extreme  shadows  were  not 
sufficiently  great  in  nature  to  bring  about 
a  disproportionate  response  in  density  on 
the  developed  film.  We  would  then  be 
faced  with  the  difficulty  of  printing  such  a 
scene  because  a  printing  light  sufficiently 
strong  to  penetrate  the  heavy  silver  deposit 
of  the  negative  and  give  a  normal  exposure 
to  the  positive  would  be  too  strong  for  the 
shadows,  and  would  make  them  too  dark, 
even  though  they  would  be  of  correct  con- 
trast because  of  the  proportionate  variation 
response.  A  light  low  enough  in  value  to 
give  the  correct  printing  exposure  to  the 
shadows  would  be  too  weak  to  penetrate 
the  highlights  to  give  them  a  normal  ex- 
posure on  the  print.  Fortunately,  however, 
this  latter  difficulty  does  not  concern  re- 
versal film  for  obvious  reasons.  But  their 
effects  are  not  entirely  absent  because  the 
range  of  "normal"  exposures  is  so  much 
smaller  on  reversal  film  than  that  of  a  neg- 
ative  film. 

There  are  several  ways  to  deal  with  a 
situation  of  this  sort.  In  all  of  them  a  "com- 
promise" must  be  effected  in  exposing  the 
two  extremes,  the  same  as  the  eye  does. 
The  easiest  and  most  logical  one  is  to  pick 
an  angle  that  will  minimize  the  inequality 


of  the  light  condition.  Assuming  that  we 
are  shooting  in  sunlight — where  we  are 
most  apt  to  encounter  a  condition  of  this 
nature — we  will  find  that  if  the  sun  is  di- 
rectly behind  us  the  shadows  will  fall  be- 
hind the  objects  we  are  photographing,  and 
the  camera  will  see  little  of  them.  This, 
however,  will  tend  to  make  the  scene  look 
flat  due  to  the  absence  of  shadows.  At  the 
other  extreme,  shooting  the  scene  with  the 
sun  coming  towards  us,  we  will  have  a  pic- 
ture where  the  shadows  will  occupy  as 
prominent  a  place  as  the  objects  them- 
selves. By  compromising,  and  picking  an 
angle  where  these  shadows  are  there,  but 
by  virtue  of  the  camera  position  are  not 
of  such  magnitude  or  prominence  as  to  con- 
stitute a  major  part  of  the  scene,  dealing 
with  them  then  is  no  problem. 

There  are  times,  however,  when  this  is 
impossible,  or  when  action  is  taking  place 
in  both  the  shadows  and  in  the  sunlit  areas, 
and  we  want  to  photograph  them  both. 
Here  the  compromise  becomes  most  im- 
portant, and  that  area  in  which  the  most 
important  action  is  taking  place  is  favored 
most.  If  the  sky  has  a  light  haze  it  will  act 
as  a  reflector,  and  will  "fill  in"  the  shadows 
sufficiently  to  give  a  good  light  balance — 
if  enough  open  sky,  or  open  water,  is  pres- 
ent. Sand  on  beaches  is  an  excellent  re- 
flector, as  are  white  or  light  colored  build- 
ings. If  the  sky  is  a  deep  blue,  a  blue  filter 
will  help,  by  holding  back  the  large 
amounts  of  red  and  yellows  present  in  the 
sunlight  and  giving  the  blue  of  the  sky  a 
chance  to  build  up  in  the  shadows.  Neu- 
tral density  filters  are  of  help  where  a  glare 
exists. 

Much  better,  though,  is  the  use  of  some 
means  of  throwing  light  into  the  dark  areas 
artificially,  using  either  reflectors  made  for 
the  purpose,  or  lights.  This  means  is  useful 
only  where  relatively  small  areas  are  be- 
ing photographed.  It  is  usually  in  these 
small  areas  where  the  natural  reflections 
of  haze,  clouds,  sand,  or  water  cannot  be 
used  to  practical  advantage.  And  the  large 
ones  cannot  be  artificially  illuminated  in  a 
practical  manner  by  an  amateur  because 
of  the  large  equipment  requirements.  When 
none  of  these  corrections  can  be  introduced 
for  one  reason  or  another,  and  the  scene 
has  great  extremes  in  values  of  light  dis- 
tribution, there  is  only  one  thing  to  do  to 
prevent  a  photographic  failure.  And  that  is 
not  to  shoot  it. 

We  have  laid  down  a  photographic  rule. 
That  does  not  mean  that  under  no  circum- 
stances should  an  unbalanced  light  condi- 
tion ever  be  photographed.  When  one 
reaches  that  state  of  proficiency  where  he 
can  determine  beforehand  what  the  exact  re- 
sult on  the  screen  will  be  and  can  deal  with 
the  situation  accordingly  to  achieve  a  tech- 
nically perfect  negative,  a  situation  with  an 
unbalanced  light  condition  that  would  re- 
sult in  a  photographic  failure  for  an  aver- 
age person  can  be  turned  into  a  scene  that 
will  heighten  the  dramatic  effect  desired  to 
create.  It  is  one  of  the  rules  that  must  be 
broken  by  experts. 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TCLC  V 


TELEVISION  GETS  THE  "GO" 
SIGNAL! 

To  Make  Commercial  Debut  July  1 
By  Duster  Evans 

While  an  abundance  of  startling  news 
has  been  coming  out  of  the  Nation's  Cap- 
itol recently,  none  has  been  more  wel- 
come to  some  than  the  Federal  Communi- 
cations Commission's  approval  of  the  com- 
mercial broadcast  of  Television,  starting 
July  1. 

All  of  which  means  that  Television  has 
been  authorized  to  start  selling  its  pro- 
grams to  sponsors.  And  experts  agree  that 
when  this  takes  place,  it  won't  be  so  very 
long  before  Television's  magic  should  be 
reaching  out  into  many  homes. 

The  Commission  has  adopted  a  set  of 
operating  standards  that  makes  possible 
the  highest  level  of  Television  perform- 
ance within  present  developments.  These 
standards  fix  the  line  frequencies  at  525 — 
making  possible  greater  detail  in  a  Tele- 
vision picture,  than  under  the  441  line 
system  recommended  a  year  ago.  This 
change  will  also  be  helpful  in  view  of  the 
trend  to  larger  screens. 

The  recent  birth  of  Frequency  Modula- 
tion in  the  Radio  world  has  no  doubt 
proved  a  timely,  fitting  stimulus  to  Tele- 
vision's coming-out  party.  Frequency  Mod- 
ulation's almost  staticless,  pure  tone  is  be- 
ing used  to  accompany  the  flickerless  pic- 
tures. The  Television  public  is  therefore  in 
for  a  double-feature  treat  in  the  realms  of 
sight  and  sound. 

But  Television,  itself,  has  not  been  sit- 
ting tight  these  recent  months.  A  startling 
development  has  taken  place.  Color  Tele- 
vision has  rapidly  become  a  reality.  A 
Television  screen  can  now  be  flooded  with 
the  hues  of  the  rainbow.  Colorful  objects 
"televised"  by  means  of  this  new  system 
take  on  a  life-like  realism.  Like  color  mov- 
ies, a  Television  picture  in  color  assumes 
a  three-dimension  effect.  Perhaps  no  other 
recent  event  in  Television's  progress  will 
so  enhance  Television's  appeal  to  the  buy- 
ing public. 

And  the  good  news  from  the  Television 
front  these  days  is  not  confined  solely  to 
experimental  stations  at  Washington.  Some 
of  the  country's  outstanding  merchandisers 
are  placing  confidence  in  the  future  of 
Television  to  the  tune  of  a  plan  for  pos- 
sibly a  ten-million-dollar  order  for  Tele- 
vision receivers.  Foreseeing  the  tremendous 
possibilities  of  merchandising  products  on 
Television's  silvery  screen,  a  survey  of  Tele- 
vision   broadcast    facilities    is    being    con- 

International  Photographer  for  June,  1941 


ducted  by  a  large  department  store  chain. 
Upon  this  may  rest  an  order  for  fifty 
thousand  Television  receivers. 

RCA.  it  is  also  reported,  is  now  pro- 
ceeding to  interest  theater  operators  in 
their  new,  Wide-Screen  Television  System 
designed  for  theater  use.  Experimental 
shows  on  a  15  by  20  foot  screen  have 
gained  much  favorable  comment.  It  seems 
to  be  almost  a  foregone  conclusion  that  in 


the  next  few  years,  some  of  the  large  the- 
aters will  be  installing  Television  projec- 
tors. Some  are  already  showing  an  active 
interest.  As  an  example  of  the  "eye  for 
the  future"  comes  the  news  that  Balaban 
and  Katz  have  been  authorized  to  erect  an- 
other experimental  station  in  Chicago. 

Certainly,  there  has  been  no  marking 
time  in  Television.  Technically,  it  is  ready! 
The    government    has    now    given    its    ap- 


The  last  word  in  a  television  receiver.  Dutnont  model  195X 
with  screen  11*4  by  15  inches,  169  square  inches  of  actual 
picture.  This  receiver  provides  the  largest  directly  viewed 
television  image  in  the  world. 

21 


The  same  research  by 
precision  engineers, 
and  the  workmanship 
of  skilled  technicians 
keep  MITCHELL  in 
the  front  line  of  march 
when  it  comes  to  a 
camera  for  motion 
pictures. 


MITCHELL   CAMERA 
CORPORATION 

665  NORTH   ROBERTSON  BLVD. 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  CR.   6-1051 

AGENCIES: 

Bell  &  Howell,  Ltd.,  London,  England  Motion  Picture  Camera  Supply  Co., 

/-■     j    /-     /■»    ,  c   j  a  i-  New  York  City 

Claud    C.     Carter,     Sydney,     Australia  Fazalbhoy,  Ltd.,  Bombay,  India 

D.   Nagase  &  Co.,   Ltd.,  Osaka,    Japan  H.    Nassibian,    Cairo,    Egypt 


proval  for  commercial  operation !  The 
future  appears  bright!  We  cannot  help  but 
think,  too,  that  Uncle  Sam  must  feel  there 
are  real  and  important  possibilities  ahead 
of  Television.  He  has  given  this  new  in- 
dustry the  "green  light"  while  other  in- 
dustries are  concentrating  on  one  of  the 
greatest  industrial  efforts  in  our  history, 
producing  military  equipment. 

An  interesting  sidelight  on  Television  is 
found  in  the  military  world.  Even  last 
Fall,  during  the  huge  war  games  in  north- 
ern New  York,  camouflaged  portable  Tele- 
vision equipment  was  used  to  flash  back 
strategic  scenes  to  "Company  Headquar- 
ters."' Army  officials  exhibited  great  in- 
terest in  the  success  of  the  experiment. 
There  are  predictions  that  Television  may 
play  an  important  role  in  military  activity 
of  the  future.  Television's  big  brother, 
Radio,  is  already  an  essential  factor  to  mil- 
itary success. 

In  the  past,  new  industries  have  pro- 
vided this  country  with  a  fertile,  new  field 
for  opportunity- — the  opportunity  to  work 
— to  grow — to  advance  as  the  industry  ad- 


vances. 


And 


now  comes 


Tel 


evision 


Men  will  soon  be  needed  in  Television 
studios,  control  rooms,  transmitting  sta- 
tions. They  will  be  needed  to  build,  in- 
spect, sell,  install  and  service  Television 
receivers.  They  will  be  needed  out  in  the 
field  to  operate  Television  cameras  and 
related  equipment — "picking  up"  news  as 
it  is  happening.  But  this  fascinating  new 
field  is  a  technical  one.  Most  of  the  future 
opportunities  will  be  for  men  who  "know 
how" — trained  men.  Certainly,  this  new 
industry  of  Television  should  be  investi- 
gated by  any  ambitious  young  man  won- 
dering how  he  may  benefit  himself  in  the 
years  ahead. 

The  commercial  authorization  of  Tele- 
vision for  July  1  is  one  of  the  bright  spots 
on  the  horizon ;  new  industries  have  helped 
to  make  America  great!  And  to  what  pro- 
portion may  this  new  Television  industry 
go?  The  future,  alone,  can  tell.  But  from 
what  experts  tell  us,  we  would  not  go  far 
amiss  by  saying  that  Television  seems  des- 
tined, before  very  long,  to  become  another 
familiar  but  sparkling  design  in  the  life 
pattern  of  Mr.  and  Mrs.  Average  American. 

To  any  of  our  readers  interested  in  en- 
tering the  field  of  radio,  television  or 
sound  pictures,  the  writer  of  the  above 
article  will  be  glad  to  supply  information 
if  vou  address  him  care  of  International 
Photographer. 


WARNERS  HAS  SOUND  TRACK 
OF  AIR  RAID 

The  only  sound  track  in  America  of  a 
London  air  raid  has  arrived  at  Warner 
Bros,  studio.  The  track,  obtained  by  War- 
ner technicians  at  the  Teddington  Studios 
in  England,  was  sent  here  to  be  used  for 
scenes  depicting  the  bombing  of  London 
in  "The  Flight  Patrol,"  story  of  the  in- 
ternational volunteers  in  the  R.A.F.,  feat- 
uring Ronald  Reagan  and  James  Stephen- 
son. 


22 


VS1PM& 


j* 


of 


*s 


tv^ 


USE 


TH 


E    PRODUCT 


MUU    STUDIO    AND 
,,.      ^MOTION     PICTURE 
AT.O.AHlGH    1NTENS.TY     CARBONS 

ERIENCE      IN 


,^\     ex  pi 


THEUOHTOrDAVUOHjO-^ 

PHOTOORAPH.C  EM   ^^  ^ 
MA«MUM  SPEED  cQLOR 


NATIONAL  CARBON   COMPANY,  INC. 

Unit  of  Union  Carbide  and  Carbon  Corporation 


6t« 


8XttH 


11U0* 


8»»««t 


Carbon  Sales  Division:  Cleveland,  Ohio 


GENERAL  OFFICES 


30  East  42nd  Street,  New  York,  N.  Y. 


BRANCH  SALES  OFFICES 
NewYorb,  Pittsburgh,  Chicago,  St.  Louis,  San  Francisc 


International  Photographer  for  June,  1941 


23 


P  fl  T  e  n  T  s 


By  ROBERT  W.  FULWIDER 
Patent  Attorney,  Los  Angeles 


No.  2,236,767 — Means  for  Slating  and 
Synchronizing    in    Motion    Pictures. 
Percy  Tinson,  Westwood,  Calif.  Appln. 
Sept.  7,  1937.    7  claims. 
A  motion  picture  camera  having  a  framing 
aperture,  with  an  indicia  carrying  member 
which  may  swing  to  and  from  a  position 
covering  the  aperture. 
No.  2,236,878 — Actuating  and  Adjusting 
Means    for   a    Film    Gate  Assembly. 
Albert    Kindelman,    assignor    to    Inter- 
national    Projector    Corp.,    New    York. 
Appln.  Aug.  5,  1938.    14  claims. 
A    motion    picture    camera   having    a    film 
gate  assembly  mounted  on  a  rod  and  which 
may  be  moved  longitudinally  of  the  rod. 
No.    2,238,114  -      Portable    Talkinc 
Motion  Picture  Apparatus.  Harold  C. 


H olden,    assignor    to    Radio    Corp.    of 

America.   Original  appln.  June  21,  1935, 

which    is    division    of    appln.    Feb.    12, 

1932.      Divided     and     this     application 

April  12,  1938. 

A  film  gate  for  motion  picture  apparatus 

which   has   a   spring   pressed   shoe    at   one 

end  of  an  aperture  gate,  urged  toward  the 

gate   but   stopping   farther   away  than   the 

thickness  of  the  film,  and  a  second  spring 

pressed  shoe  at  the  other  edge  of  the  film 

and  pressing  the  film  against  the  gate. 

No.   2,238,159 — Device    for    Preventing 

Overheating    in    Cinema    Projection 

Apparatus.    Agostino  D.  Derossi,  Italy, 

assignor  to  Soc.  An.  Microtecnica,  Turin, 

Italy.  Appln.  Mav  9,  1939.  In  Italy  May 

14,  1938.   1  claim. 


A  screening  device  between  the  light  source 
and  the  film  of  a  projector  and  having  a 
liquid  filled  housing  intercepting  all  of  the 
light  not  going  to  the  film,  to  prevent 
overheating. 

No.   2,238,365  —  Light-Reflecting   and 
Sound-Transmitting  Screen.  Albert  B. 
Hurley,  Huntington,  N.  Y.   Appln.  Nov. 
20,  1937.    6  claims. 
A  light-reflecting  sound-transmitting  screen 
having  a  highly   perforated   base  material 
permanently    attached    to    a    base,    and    a 
paper   light-reflecting   surface  having    per- 
forations    for     sound     transmission,     and 
adhesively  secured  so  it  may  be  replaced 
when  dirty. 

No.   2,238,495  —  Method   of   Coloring 

Photography.   Leopold  D.  Mannes  and 

Leopold    Godowsky,    Jr.,    assignors    to 

Eastman  Kodak  Company.  Appln.  April 

12,  1940.   In  great  Britain  May  10, 1939. 

6  claims. 

A   method    of   producing   colored    pictures 

by  exposing   a   special   film,    immersing   it 

in  an  acid  solution  of  an  aromatic  amino 

developing  agent,  and  then  subjecting  it  to 

alkaline  vapors  to  form  a  colored  image. 


Arthur  W.  Say  of  Local  68.H  caught  ihi*  candid  shot  of  Ernest  Bachrach  talking  with 
enthusiastic  amateur  photographers  at  the  recent  Salon  of  the  Still  Photographers  of 
the  Motion  Picture  Studios.    Virginia  Vale  in   foreground. 


24 


HO*A 


fa** 

Has  a  New  "Positive"  Viewfinder! 

BELL  &  HOWELL  engineers  have  scored  again!  Now  the  versatile 
Eyemo  has   a  "positive"  viewfinder   and   a   new   finder  turret 
which  mounts  three  matching  viewfinder  objectives. 

With  this  new  "positive"  viewfinder,  there  is  no  masking  to  re- 
duce the  field.  A  large-size  image  always  fills  the  entire  finder 
aperture  .  .  .  for  all  lenses  of  any  focal  length. 

In  addition,  this  new  Eyemo  finder  eliminates  eye  parallax!  Even 
when  your  eye  wanders  from  the  center  of  the  eyepiece,  you  still 
see  the  EXACT  field  to  be  filmed! 

Add  the  advantage  of  having  three  matching  finder  objectives  on 
a  turret  for  instant  readiness,  and  you  begin  to  know  why  now, 
more  than  ever,  the  Eyemo  is  unsurpassed  in  the  field  of  portable 
cameras.  For  no  other  camera  offers  the  versatility  and  dependability 
of  the  Eyemo.  For  information  about  this  superb  35  mm.  camera, 

please  mail  coupon.  Bell  &  Howell 
Company,  1848  Larchmont  Ave., 
Chicago;  30  Rockefeller  Plaza, 
New  York;  716  N.  LaBrea  Ave., 
Hollywood;  1221  G  St.,  N.  W. 
Washington,  D.  C;  13-14  Great 
Castle  Street,  London.  Estab.  7907. 


(A 


Ml 


co 


of 


to 


of 


Other  Recent  Eyemo  Improvements 

Important!  Many  Eyemo  owners  are 
converting  their  cameras  to  include 
these  changes.  Conversion  charges 
are  reasonable.  Write   for   details. 


NEW  FLAT  BASE  — 2l/2"  square,  with  dowel 
holes,  gives  perfect  seating  on  any  flathead 
tripod. 

LENS  MOUNT  LOCKING  SCREWS  lock  each  lens 
in  Joe  us! 

TURRET  LOCK  for  Eyemos  with  offset  turret  as- 
sures alignment  even  with  long,  heavy  lenses. 

DETACHABLE  CORD  now  supplied  with  electric- 
drive  models. 


EYEMO  can  be  equipped  with  400-foot 
external  magazine,  offset  turret,  electric 
drive,  and  other  studio  accessories,  or  it  can 
be  stripped  down  to  a  light,  compact, 
spring-driven  hand  camera. 


PRECISION-MADE    BY 


BELL    &    HOWELL 


PFTI.  s:  HOWELL  COMPANY 

1849  Larchmont  Ave.,  Chicago,  III. 

(   )  Send  details  about  new,  improved  Eyemos. 


(    ;  I  own  Eyemo  Serial  No. 
converting  it  to  include 


Am  interested  in 


Name 

Address 

City State. 


International  Photographer  for  June,  1941 


25 


Mexico's  Festival 

(Continued  from  page  5) 

in  Spanish,  even  if  they  are  just  "Please 
get  back." 

Another  thing  of  interest  to  me  was  the 
equipment  used  by  the  Mexican  photo- 
graphers who  still  resort  to  the  old  flash 
pans  and  powders. 

One  of  our  Mexican  brother  cameramen 
became  my  shadow.  I  found  him  right  at 
my  side  everytime  1  turned  around.  With 
gestures  I  would  try  to  convey  the  idea 
that  1  would  appreciate  his  moving  back 
until  I  got  the  shot  and  with  even  more 
courteous  gestures  he  would  smile  and 
move  in  closer.  At  a  crowded  reception  in 
the  office  of  Mayor  Rojo  Gomez,  while 
everyone  was  listening  attentively  to  the 
speaker,  my  Mexican  brother  "shot  his 
flash"  about  three  feet  away  from  David 
O.  Selznick's  head,  causing  Mr.  Selznick 
to  jump.  I  have  since  wondered  if  Mr. 
Selznick  had  his  mind  wholly  on  the 
good  will  tour  during  that  moment.  I 
glanced  toward  my  Mexican  friend  who 
showed  no  surprise  and  was  smiling  as 
usual.  I  still  think  Mr.  Selznick  thought 
that  I  did  it,  for  he  gave  me  a  very  accus- 
ing look. 

Although  the  Mexican  cameraman's 
equipment  is  very  obsolete  I  must  say, 
having  seen  some  of  their  work,  that  they 
turn  out  very  fine  results.  With  up-to-date 
equipment  I  feel  sure  they  would  offer  us 
keen  competition. 

To  Mr.  Jock  Lawrence  and  the  Pro- 
ducers' Association  1  wish  to  extend  my 
thanks  for  the  privilege  of  playing  my 
small  part  in  this  undertaking  which  I 
believe  will  prove  historical  to  the  motion 
picture  industry. 


CONQRATUAlATiONS, 

"e<J"  cIe  vRy! 


E.  B.  De  Vry 

Time  —  the  dictator  supreme.  Changes 
come.  New  faces  .  .  .  new  names  greet  our 
eyes.  And  the  field  of  sound  motion  pic- 
tures and  Electronics  is  no  exception. 
Meet  Edward  B.  DeVry,  son  of  Mr.  H.  A. 
DeVry,  whose  sudden  death  recently 
removed  one  of  the  true  pioneers  from  the 
motion  picture  field. 

Edward,  better  known  as  "Ed"  to  most 
of  his  acquaintances,  steps  into  his  father's 
shoes  not  only  as  an  officer  of  the  DeVry 
Corporation  —  manufacturers  of  sound 
motion  picture  equipment  —  but  also  as 
President  of  an  affiliated  organization 
known  as  DeForest's  Training. 

But  if  the  senior  Mr.  DeVry  were  alive 


Lefl    lo   ri}jl>i:    Desi    Arnaz,   Salm,   Kay    Proctor,    Brenda    Marshall   ami 
Lucille  Kail  at  airport  in  Mazatlan.  (Wallace) 


today,  he  would  probably  say,  "Don't 
congratulate  Ed  yet!  Wait  a  few  years. 
Then  if  he  has  proved  worthy  of  your 
congratulations,  fine!"  But  as  Ed  has  all 
the  ear-marks  of  his  father's  qualities,  we 
feel  perfectly  safe  in  congratulating  him 
now. 

After  completing  his  schooling,  Ed 
quickly  plunged  into  the  business  world, 
and  for  the  past  number  of  years  has 
worked  closely  with  his  father.  He's  a 
natural  executive  —  and  one  who  now  has 
nearly  15  years  of  business  experience 
behind  him. 

Ed's  presidency  of  DeForest's  Training 
focuses  particular  attention  on  this  mod- 
ern, industrial  training  program.  Founded 
by  the  late  H.  A.  DeVry,  DeForest's  Train- 
ing is  providing  a  reliable  means  for 
numerous  young  men  to  get  started  toward 
a  successful  career  in  the  field  of  Radio, 
Television,  Sound  Motion  Pictures  and 
other  related  branches  of  Electronics. 

One  of  the  features  of  the  training  is  the 
prominent  use  of  "Visual  Education."  In 
addition  to  the  use  of  loose-leaf  material, 
each  man  is  loaned  a  motion  picture 
projector  and  film  to  be  used  in  his  own 
home.  Further,  he  has  the  privilege  of 
attending  the  organization's  laboratories  in 
Chicago  for  two  weeks  of  practical  train- 
ing on  actual  commercial  equipment.  And 
that's  not  all! 

DeForest's  Training  recently  added  a 
new,  practical  step  to  its  program.  Each 
member  is  now  furnished  with  a  wide 
assortment  of  Electronic  equipment  so  that 
he  can  enjoy  the  benefits  of  a  laboratory 
right  in  his  own  home.  This  equipment 
permits  a  young  man  to  work  out  from  75 
to  100  fascinating  experiments  —  giving 
him  valuable  practical  experience. 

The  late  H.  A.  DeVry  took  great  pride 
in  the  efficient  job  being  done  by  De- 
Forest's Training.  He  had  an  eye  for  the 
future,  too,  when  he  insisted  that  his  son, 
Edward,  learn  the  business  the  hard  way 
— from  the  bottom  up.  His  foresight  is 
now  bearing  fruit. 

Today  this  organization  continues  to 
function  smoothly,  with  scarcely  a  ripple 
on  the  outer  surface  to  show  the  torch  has 
been  handed  on  to  another  to  carry.  Cer- 
tainly, any  organization  or  individual 
possessed  with  the  vision,  character  and 
ideals  of  that  pioneer  maker  of  movie 
equipment,  the  late  Mr.  DeVry,  is  estab- 
lished upon  a  foundaion  of  bed-rock.  Such 
an  organization  can  look  to  the  future  with 
the  confidence  born  of  preparedness.  Such 
an  organization  should  long  endure. 


26 


The  World's  Largest  and  Finest  Line 
of  Motion  Picture  Sound  Equipment 

One  test  of  the  quality  of  any  product  is  the  type  of  people  buying  it.  Many  of 
the  largest  industrial  firms  of  America  have  purchased  DeVry  motion  picture 
equipment  to  project  their  valuable  films.  Among  these  are  the  Ford  Motor  Co. 
(244  projectors),  Firestone  Tire  and  Rubber  Co.  (60  projectors),  Standard  Oil 
Co.  (62  projectors),  International  Harvester  Co.  (183  projectors)  and  the  Good- 
year Tire  and  Rubber  Co.  (2700  projectors,  the  largest  industrial  order  for  pro- 
jectors ever  awarded) .  DeVry  equipment  will  likewise  be  found  in  thousands  of 
schools,  colleges,  churches,  theatres,  clubs,  institutions  and  various  Governmental 
Departments  throughout  the  United  States  and  in  over  68  foreign  countries. 


DeVRY  MOVIE  CAMERAS 

are  likewise  proving  their  ability.  Rob- 
ert Hartmann,  ace  cameraman  for  Fox 
Movietone,  Harrison  Foreman,  famous 
world  traveler  and  lecturer,  Capt.  John 
Craig  and  Norman  Alley,  the  best  known 
cameraman  in  the  world,  are  just  a  few 
who  get  their  pictures  everytime  with 
DeVry  Cameras. 

THIS  IS  OUR  28th  YEAR 


THE  NEW  LOW-PRICED  "O-R-^" 

DeVry 's  newest  portable  16mm. 
sound  projector.  Smart,  modern 
styling  of  twin  airplane  luggage 
cases ;  many  other  features  for 
economy  and  efficiency  includ- 
ing: 


Slop-o»  Film 
Power  Rewind 
Reverse  Switch 


12"  Speaker 

Sound  &  Silent 

Projection 


DeVry  Manufac- 
tures Everything  jo, 
the  Recording  and 
Projecting  of  16mm, 
and  35mm.  Sound 
and  Silent  Motion 
Picture  Films. 


— of  serving  the  motion  picture  world 
with  the  very  best  equipment  that 
money,  brains  and  good  engineering  can 
build.  We  have  just  recently  added 
Factory  Number  3,  which  includes  mod- 
ern vaults  to  house  over  3,000,000  feet 
of  educational  film  negative. 


We  Would  Like 
to  Help  You  Fill 
Your  Important 
Motion  Picture 
Equipment    Needs. 


Pictured  Above  is  the 
new  DeVry  Super  The- 
atre   Sound    Projector. 


Distributors  in  Principal  Cities  throughout  the  world. 


DeVRY  CORPORATION 


JACK    BENNY 

Popular  Radio  and  Screen 
Star  Who  Has  Dual 
DeVry  35mm.  Sound  Pro- 
jectors in  His  Hollywood 
Home. 

•    ••••••*• 

Many  Other  Oustanding 
Stars  in  the  Movie  World 
Likewise  Have  DeVry  16 
mm.  or  35mm.  Projectors 
in  Their  Homes. 


Branch   offices   in   Hollywood  and  New   York^  City. 


1111  Armitage  Ave..  CHICAGO 


INTERNATIONAL  PHOTOGRAPHER  for  June,  1 941 


27 


EXPOSURE    METER 

(Continued  from  page  19) 

The  coil  is  held  in  place  by  an  armature 
shaft  of  hardened  steel  tapered  at  each  end 
to  a  point  much  finer  than  a  needle.  The 
shaft  is  mounted  in  sapphire  jewel  bear- 
ings vertically,  which  minimizes  friction. 
Two  small  torque  springs  mounted  near 
each  end  of  the  shaft  oppose  the  coil  as 
it  tends  to  turn  in  the  magnetic  field 
created  by  the  strong  permanent  magnet. 
Thus,  the  more  light  falling  on  the  cell  the 
more  current,  and  the  higher  the  quantity 
indicated  by  the  pointer.  The  precision 
and  quality  is  such  that  the  instrument  can 
be  calibrated  and  guaranteed  to  have  a 
full  scale  accuracy  of  within  2%. 


The  cell  and  the  instrument  are  mounted 
in  a  special  case,  designed  to  absorb  shocks 
and  sealed  against  moisture.  The  scale 
plate  is  calibrated  in  foot-candles,  the 
standard  light  measuring  unit  in  the  United 
States.  This  makes  it  a  simple  matter  to 
check  the  accuracy  of  the  instrument  with 
any  standard  light  power.  One  camera 
user  went  so  far  as  to  mount  five  ordinary 
candles  one  foot  away  from  his  General 
Electric  exposure  meter  and  observe  that 
it  indicated  five  foot-candles.  This  is  not 
an  accurate  checking  method  because  the 
standard  candle  has  certain  specifications: 
It  must  be  of  a  certain  size  with  a  certain 
size  wick,  certain  length  of  wick,  and  burn 
a  certain  amount  of  wax  in  a  certain 
specified  period. 

(Concluded   in   July  issue) 


4000  4400  4800  5200  S600  6000  6400  6800 

WAVE  LENGTH   OF  LIGHT    (ANGSTROM  UNlTSj 

Fig.  4-     curve  classifications 
1- relative  density  produced  by  various  wave  lengths  of  light. 

2-  relative  proportions  (logarithmic  a5  seen  by  film)  of  various  wave  lengths  in  daylight. 

3-  "       effect  "  "  "  "        on  cell. 

4-  "  "  "  "  OH  EYE. 

FlG.  5 

Performance  of  cells  exposed  to  bright  daylight  (placed  directly 
below  a  skylight)  not  protected  by  hood  or  multiplier. 


IO  12  14 

MONTHS    EXPOSED 
Fatigue    teats    on   a  dozen    cells.      The   steady   output  shown    assures 
continuous   acouracy  of   ttie  exposure   meter  as   any  aging   of   the 
eleotrloal   element   Is   negligible. 


28 


GENERAL  ELECTRIC  MIDGET 
PHOTOFLASH  LAMP,  NO.  6 

A  new  tiny  focal  plane  photoflash  lamp 
— same  size  as  GE's  mighty  midget  No.  5 
and  the  recently  introduced  speed  midget 
I  SM  ) — has  just  been  announced  by  Gen- 
eral Electric's  lamp  department  at  Nela 
Park,  Cleveland. 

Full  name  given  to  this  latest  midget 
flash  bulb  is  G-E  Mazda  Focal  Plane 
Photoflash  Lamp,  No.  C.  It  has  a  list  price 
of  15  cents. 

Outstanding  features  and  essential  tech-  j 
nical  data  of  the  new  "No.  SIX"  are  as 
follows:  A  Bll  bulk  filled  with  shredded 
foil;  a  single  contact  bayonet  base;  light 
output  rated  at  16,000  to  18.000  lumen 
seconds;  and,  500,000  peak  lumens. 

As  in  the  case  of  the  other  two  G-E 
midget  photoflash  lamps,  the  new  No.  6 
permits  use  of  smaller  and  more  efficient 
reflectors  than  has  been  possible  with  the 
larger  Mazda  photoflash  lamps.  Time- 
light  characteristics  of  the  new  lamp's  flash 
are  such  that  it  may  take  the  place  of  the 
present  focal  plane  flash  bulb  No.  31  in 
many  cases. 

The  flash  of  the  new  lamp  has  an 
effective  duration  of  approximately  0.030 
second.  Accordingly,  the  lamp  may  be 
synchronized  with  the  great  majority  of 
focal  plane  cameras  in  use  up  to  and 
including  the  2Vi  x  3^  size.  For  best 
results  some  small  focal  plane  cameras 
may  require  the  longer  flash  duration  of 
Photoflash  lamp  No.  31.  Employed  in  an 
efficient,  well-designed  reflector,  (the  same 
as  used  with  No.  5  and  Type  SM  photo- 
flash lamps)  the  new  No.  6  lamp  gives  an  : 
exposure  approaching  that  obtained  with 
larger  focal  plane  photoflash  lamps. 

Development  of  the  focal  plane  No.  6 
permits  photographers  to  "virtually  hold 
in  the  palm  of  one  hand"  a  trio  of  midget 
G-E  flash  bulbs,  simplified  ammunition 
designed  to  satisfy  the  countless  needs  of 
the  growing  army  of  flash  photographers 
and  the  wide  assortment  of  equipment  used 
in  shooting  pictures. 

CLASSIFIED  ~ 

LARGE  QUANTITY  OF  PROFESSIONAL  CAM- 
ERAS AVAILABLE.  WRITE  FOR  BARGAIN 
BOOKLET.     BURKE  &  JAMES,   INC.,   223   W. 

MADISON   ST.,   CHICAGO,   ILL. 

WANTED   TO    BUY    FOR   CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO      LABORATORY      AND      CUTTING 

ROOM   EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600   Broadway  New  York  City 

Tel.   Circle  6-5080— Cable :    CINEQUIP 

BELL    &   HOWELL,    5-WAY    SOUND    PRINTER. 

CAMERA   EQUIPMENT    COMPANY 

1600   Broadway  New  York   City 

Tel.    Circle   6-5080— Cable:    CINEQUIP  ' 

MITCHELL    NC    112.    LIKE    NEW.    Up   to  the  min- 
ute.     B.    B.    RAY,    300    W.    Durante    Road,    Arcadia, 

Calif. 

FOR  SALE:  AKELEY  CAMERA,  like  new,  No.  i 
258,  with  roller  pressure  plate,  new  tripod  and 
legs,  all  new  gyro  wears,  six  magazines,  35  mm. 
F2:3  matched  pan  astro  lenses,  50  mm.  F2:3 
matched  pan  astro  lenses,  100  mm.  F3:5  matched' 
Carl  Zeiss  lenses,  12-inch  F  5 :6  Dahl  Meyer  Tele- 
photo  lens.  All  equipment  in  cases.  230  and  180 
degree  interchangeable  shutters.  Ten  metal  filter 
holders  in  case.  Sacrifice  $900.  MERVYN  FREE- 
MAN. 12041  ADDISON  ST.,  NORTH  HOLLY- 
WOOD,   CALIF. 


Popular  Choice  in  the  Hollywood  Reporter  Preview  Poll 

BEST  PHOTOGRAPHY 

Orsen  Welles' 

"Citizen  Kane" 

A  Mercury  Production 
RKO— Radio  Release 

GREGG  TOL AND,  a.  s.  c. 

Director  of  Photography 

BERT  SHIPHAM,  Operative  Cameraman 
EDDIE  GARVIN,  Assistant  Cameraman 

Negative  Processing  and  Dailies  by 

Consolidated  Film  Industries,  Hollywood 

Eastman  fine^grain  Release  Prints  by 

De  Luxe  Laboratories,  New  York 


EASTMAN  FILMS 
BRULATOUR  SERVICE 


BEHIND 

THE  SCENES 


BACK  of  the  arresting  beauty  of  modern 
screen  productions  stands  the  unvarying 
high  quality  of  Eastman  negative  films. 
Each  does  its  specific  work  surpassingly 
well.  From  long  experience,  directors  and 
cameramen  take  for  granted  this  vital  con- 
tribution to  each  scene's  success.  Eastman 
Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BKULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  Hi  He  light  is  available 

lt\<  K4.ICOI  M>-\ 

for  backgrounds  and  general  exterior  trork 

EASTMAN  NEGATIVE  FILMS 


July,  1941 


25  CENTS 


Ocreen    results    twi 


ce    improve 


Du  Ponr  Film  Manufacturing  Corporation 
Smith  Ci.  Aller,  Ltd. 


Du  Pont  Fine  Grain  Positives  enhance  the 
quality  of  both  picture  and  sound.  They 
render  the  detail  of  a  camera  formed  image 
more  crisply.  They  record  and  reproduce 
sound  with  greater  fidelity.  Used  in  con- 
junction with  fine  grained  DuPont  Negative 
they  transmit  undiminished  to  the  screen 
the  skill  and  artistry  expended  in  motion 
picture  production. 


New  York,  N.  Y. 
Hollywood,  Calif. 


BETTER  THINGS  for  BETTER  LIVING   through  CHEMISTRY 


International 

phOTOQRAphER 


Vol.  XIII 


July,  1941 


No.   6 


LEADING  ARTICLES  IN  THIS  ISSUE 


Universal^  Thrill  Hunter,  Krainukov 
Animated  Cartoon  Photography,  Burton 
Paradise  South,  McGregor — Page  11 
The  Kodatron — Page  13 
Using  the  Exposure  Meter,  Anderson 


Page  3 


-Page  10 


Page  18 


PICTORIAL  FEATURES 

"Martha",  Mortensen — Page  2 
Swordfishing  with  Shackelford — Page  7 
"Father  Takes  a  Wife,"  Bachrach — Page  8 
"A  Thousand  Cameras,"  Longworth — Page  12 
High  Speed  Action  Shots — Pages  14,   15 

REGULAR  DEPARTMENTS 

16  mm.  Department — Page  20 
Television,  Evans — Page  21 
Tradewinds — Page  22 
Patents,  Fulwider — Page  24 
They  Say,  Rella— Page  28 


Editor,  Herbeiu   Ai.i.i-.k 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  Georce  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Dale:  5th  of  Each  Month 


111 


BROWN-CAIDWEU 


"SHACK"  and   "JACK" 

Anyway  that's  the  title  Artist  John  Hill 
gave  the  picture.  The  picture,  taken  on  the 
great  Gobi  Desert,  shows  "Jack"  at  the  age 
of  about  two  weeks,  at  which  time  Shackel- 
ford's party  adopted  him.  One  of  the  mem- 
bers of  the  expedition  knew  "Jack"  should 
be  kept  warm  at  night,  so  he  look  his 
sleeveless  leather  jacket  and  neatly  but- 
toned "Jack"  into  it  each  evening,  putting 
his  two  feet  through  the  armholes.  One 
night  "Jack"  disappeared,  never  to  be  seen 
again — and  fashionably  attired  in  a  fine 
leather  jacket.  What  his  mother  thought 
when  she  saw  him,  or  how  he  managed  to 
discard  the  jacket  (if  he  did)  still  remains 
a  mystery.  Shackelford  promises  a  story, 
with  plenty  of  pictures,  on  the  Gobi  Des- 
c:t  for  another  issue,  but  NEXT  MONTH 
watch  for  a  story  on  one  of  his  MAGIC 
ISLANDS. 

also  watch 

for  a   fine  technical  article 

BY  WILSON  LEAHY 


International  Photographer  for  July,  1941 


\ 


\ 


'MARTHA" 


I 

By  William  Morlensen 


UNWERSAl's  ThRlll  hlJNTER  iN  chilNA 


Krainukov,  the  author  of  this  article,  has 
spent  the  last  nineteen  years  in  China  {the 
last  ten  years  for  Universal  Newsreel)  cov- 
ering floods,  famines,  wars,  vendettas  and 
on  many  occasions  he  seemed  to  lead  a 
charmed  life,  so  miraculous  were  his  es- 
capes. Several  years  ago  after  the  bomb- 
ing of  the  Cathey  and  Palace  Hotels. 
"Time"  published  Krainukov's  photograph 
with  the  caption  underneath,  "George 
Krainukov  s  pictures  were  the  most  grue- 
some of  them  all."  When  a  bomb  hit  the 
entrance  of  the  Cathey  Hotel  and  another 
the  roof  of  the  Palace  Hotel,  he  was 
wounded  with  a  fragment,  but  kept  on 
grinding  until  he  got  the  complete  story. 
Dozens  of  times  he  has  been  under  direct 
machine  gun  fire,  bombings,  explosions 
and  what  not,  and  always  seems  to  have 
returned  with  the  story. 

Krainukov  says,  "The  Newsreel  camera- 
man leads  the  most  thrilling  life  of  any 
artisan  today.  He  must  think  quickly  and 
accurately  and  must  face  the  world's  great- 
est dangers  calmly — and  eagerly."  He  has 
done  just  that. 

When  the  dark  and  gruesome  thunder 
of  war  looses  its  ominous  growls  over  vast 
plains  of  death,  heroes  are  molded  from 
the  most  common  of  clay.  Love  of  home, 
love  of  homeland,  perhaps  even  love  of 
their  gods,  transforms  men  into  individ- 
uals, who  fear  not  death,  but  only  dis- 
honor. Inspired  by  such  all-compelling 
motives  as  love,  patriotism,  or  religion, 
death  is  naught  but  constant  comrade.  One 
brief  moment  of  glory,  and  memory  of 
how  they  passed,  in  the  minds  of  those  they 
served,  the  dying  deem  recompense  enough. 

But  what  of  the  unsung  heroes,  those 
who  hold  no  passion  for  either  side,  whose 
presence  on  the  far  flung  theatres  of  battle 
is  not  by  choice,  but  of  necessity,  whose 
purpose  is  not  to  fight,  but  merely  to  rec- 
ord, that  the  world  at  large  may  see,  be 
entertained,  perhaps — be  amused? 

I  speak  of  the  newsreel  cameramen.  To 
paraphrase:  "Theirs  not  to  reason  why, 
theirs  but  to  go  and  try,"  to  get  the  pic- 
ture! Whether  it  be  in  the  vermin  infested, 
fever  ridden,  foul  pest  holes  of  Ethiopia, 
where  sanguine  butchery  seems  to  have 
been  a  pastime;  on  the  high  perched,  dead- 
ly plateaux  of  Spain,  or  in  the  seething 
vortex  of  nations  that  is  the  Orient,  the  aim 
is  the  same:  GET  THE  PICTURE!  For  a 
few  fleeting  minutes  we  see  the  results  on 
a  screen  of  our  neighborhood  playhouse 
and  are  appropriately  appalled  at  the  con- 
ditions and  events  portrayed. 

But  what  of  the  men  who  got  the  pic- 
tures? 

Since  I  left  China  on  my  vacation  to 
America,  many  people  approached  me  to 
write  articles  of  my  experiences  in  China 
as  a  newsreel  cameraman,  give  lectures  or 


even  to  write  a  book.  Well,  I  never  thought 
of  that  and  beside  I  was  too  busy  covering 
events  for  the  last  nineteen  years  which  I 
spent  in  China,  cranking  a  motion  picture 
camera  all  over  the  country  and  chasing 
hot  news  in  floods,  famines,  wars  and  ban- 
dit vendettas  to  be  flashed  across  the  silver 
screens  the  world  over.  There  are  many 
fascinations  in  the  newsreel  game  despite 
the    innumerable    hardships    I    have    gone 


By  George  Krainukov, 

Universal  Newsreel  Staff  Cameraman. 

through  during  that  nineteen  years  of  turn- 
ing a  camera  crank. 

The  story  of  my  career  as  a  newsreel 
man  is  packed  full  of  thrills,  and  being 
born  an  adventurous  Russian  I  enjoyed  all 
of  my  manifold  experiences,  even  when 
my  life  hung  on  a  thin  thread.  Whenever 
there  was  a  war,  be  it  Japanese,  anti-com- 
munist or  what  have  you,  I  was  to  be  found 
cranking   my   machine   somewhere    behind 


Upper:  Krainukov  on  the  front  line  with  the  Japanese  Army; 
Lower:  With  the  Chinese  Air  Force. 


International  Photographer  for  July,  1941 


the  lines  registering  on  celluloid,  history 
in  the  making. 

Starting  as  a  volunteer  in  my  father's 
12th  Siberian  regiment,  I  fought  Germans 
for  two  years,  when  on  a  military  assign- 
ment I  was  caught  in  the  midst  of  a  Rus- 
sian revolution  in  St.  Petersburg,  the  cap- 
ital of  Russia.  I  was  forced  to  shoot  police- 
men and  counter-revolutionists.  Discarding 
my  rifle  I  drove  a  car,  but  one  night  being 
suspected  as  a  counter-revolutionist — my 
car  was  riddled  with  thirteen  bullets,  my 
lucky  number  ever  since.  Escaping  unin- 
jured I  quickly  made  a  decision  that  the 
front  lines  were  much  safer  than  the  main 
street  in  the  Russian  capital  and  so  I  found 
myself  again   fighting  our  enemies. 

Civil  war  and  retreat  of  the  armies, 
found  me  in  Vladivostock  in  1918  where 

George  Krainukov,  Universal 
staff  cameraman,  shooting 
Shanghai  street  scenes. 

I  joined  the  Y.M.C.A.  motion  picture  de- 
partment, and  got  my  first  experience  in 
handling  a  Pathe  movie  camera.  However, 
the  arrival  of  the  Red  Armies  in  Vladivo- 
stock landed  me  in  Shanghai,  China.  There 
I  started  as  a  cameraman  on  the  staff  of  the 
British-American  Tobacco  Company.  Soon 
after  my  arrival  in  China  I  was  initiated 
into  the  newsreel  profession,  which  became 
mv  life  work.  During  the  days  while  I  was 
with  the  B.A.T.,  which  at  that  time  was 
producing  "shorts"  and  news  pictures  to 
aid  their  advertising  department,  I  traveled 
all  around  the  country  in  search  of  news. 

In  1925  I  joined  a  scientific  expedition 
into  the  jungle  of  Fukien  under  the  well- 
known  explorer  Mr.  Flovd  T.  Smith  of  the 
Field  Museum  of  Natural  Historv,  Chicago. 
It  was  during  this  trip  that  I  tasted  the  first 
of  the  adventures  of  a  newsreel  cameraman 


Fleeing  into  the  International 
Settlement. 


when  we  were  captured  bv  bandits  while 
on  our  way  up  river  from  Foochow  to  Yen- 
ping.  It  was  the  hard  bargaining  with  the 
bandit  chief  that  finally  set  us  free  on  the 
payment  of  $200.00  instead  of  $2,000.00. 
However,  we  struck  bad  luck  and  were  cap- 
tured again  a  week  later.  High  in  the 
jungle  mountains  in  an  abandoned  Chinese 
temple,  where  we  were  imprisoned,  I  man- 
aged to  get  away  with  my  De  Brie  camera, 
tripod.  Graflex  and  two  rolls  of  spare  film. 
Did  I  run?  I  think  I  have  beaten  all  the 
running  records  existing  at  that  time,  com- 
ing to  Yenping  soaked  through  with  per- 
spiration and  with  blood  all  over  my 
shoulders  from  carrying  the  heavy  equip- 
ment. 

I    also    photographed   the   first    real    war 
pictures  ever  filmed  in  China  when  in  1924 

Dead  and  injured  on  Nanking 
Road  in  front  of  Palace  Hotel. 


I  "shot"  scenes  of  the  hostilities  between 
Marshal  Wu  Pei-fu  and  the  late  Marshal 
Chiang  Tso-lin  the  war  lord  of  Manchuria. 
The  great  Yellow  river  flood  was  covered 
in  North  China  in  an  old  Vimy-Vickers, 
twelve-passenger  plane,  the  first  pictures 
ever  made  in  China  from  a  plane.  The  same 
flood  afterward  was  covered  in  a  small 
junk.  We  were  caught  in  a  storm,  bitten 
by  myriads  of  mosquitos,  and  finally  I  con- 
tracted "Hongkong  Foot"  disease  from 
which  I  was  unable  to  be  freed  for  six 
years. 

Then  the  eventful  year  of  1927  rolled 
along.  I  was  connected  with  Paramount 
News  and  was  busy  with  my  camera  taking 
various  scenes  of  the  Nationalist  cam- 
paign. I  was  on  the  spot  with  Merl  La  Voy 
when  the  victorious  pro-Nationalist  Gen- 
eral Yen  Hsi-shan's  troops  took  Peking,  the 
old  capital  of  China.  I  could  never  forget 
the  scenes  I  took  of  the  hungry,  barefooted 


:        - 


Krainukov    in     front     of 
"archy*"  in  Nanking. 


the 


marching  Chinese  soldiers,  exhausted  by 
endless  hours  of  marching  under  the 
scorching  Peking  sun,  picking  up  pieces  of 
ice  from  the  dusty  road  fallen  from  a  pass- 
ing ice-cart,  to  quench  their  thirst.  It  was 
here  that  I  first  met  James  Shackelford, 
friendly  cameraman  connected  with  Roy 
Chapman  Andrews  Expedition,  and  now 
after  fifteen  years  I  have  had  the  pleasure 
to  again  renew  the  acquaintance. 

In  a  snow  storm  in  December  1929  I  was 
tangled  up  in  the  Pukow  military  mutiny 
and  looting  by  General  Hsih  Yao-shan's 
troops.  Night  came  and  with  a  heavy  bliz- 
zard from  up-river,  driving  sleet  and  snow. 
With  practically  no  warning,  the  troops  in 
the  sheds  arose   in   rebellion.    Their   loyal 

Another  scene  of  "Bloody  Sat- 
urday" bombing  before  the 
Palace  Hotel.  Krainukov  was 
saved  because  of  standing  at 
extreme  left. 

officers  they  killed,  or  drove  them  into  the 
storm.  They  flowed  through  the  sheds, 
breaking  up  all  freight  and  opening  all 
cars;  they  rolled  out  over  the  native  town, 
killing  and  robbing  everyone  they  met. 
Three  Chinese  officers  and  eight  bodyguards 
and  myself  were  disarmed,  robbed  of 
everything  we  had,  roughly  handled  and 
threatened  to  be  shot.  Jumping  from  the 
train  and  running  under  cars  in  the  Pukow 
yard  with  rebels  spraying  us  with  bullets, 
we  soon  came  to  safe  ground,  and  before 
the  soldiers  attempted  to  storm  the  Belgian 
steamer  ""Carlier,"  Captain  F.  H.  Peret  ad- 
mitted me  and  four  Chinese  on  board. 
What  happened  to  the  others  I  never 
learned. 

Mutineers  took  all  my  money,  personal 

Taken  from  the  entrance  of 
Cathey  Hotel,  where  the  bomb 
struck.  On  the  opposite  side 
is  the  Palace  Hotel. 


International  Photographer  for  July,  1941 


belongings,  stole  or  destroyed  two  of  my 
motion  picture  cameras  and  equipment. 
Then  the  soldiers  decided  to  gut  the 
steamer.  They  came  down  in  hundreds, 
but  were  "outfaced"  by  the  thin,  but  grim 
line  of  armed  Europeans  that  barred  the 
way.  So  wrecking  the  gangway  they  pro- 
ceeded to  less  dangerous  spots.  When 
they  were  satisfied  with  loot  and  killings, 
they  commandeered  all  rolling  stock  in  the 
yards,  forced  the  railway  employees  to  run 
the  locomotives  and  proceeded  to  a  point 
15  miles  from  Pukow,  where  they  en- 
trenched and  were  displaced  and  broken 
up  by  loyal  Nationalist  Nanking  troops  a 
few  days  later.  Meantime,  Captain  Peret 
had  shifted  to  a  safer  point,  going  down- 
stream and  anchoring.  For  that  experience 
a  well-known  Yangtse  River  Captain  Joe 
Miclo  ( who  was  a  few  years  later  killed 
and  thrown  overboard  by  the  Yangtse  river 
pirates)  gave  me  a  name  of  the  Grand 
Duke  of   Pukow. 

Then  came  the  Great  Yangtze  River 
Flood  of  1931.  There  were  more  than 
500,000  dead.  A  frantic  rabble  clawed  it- 
self to  pieces  to  get  out  of  stricken  Nan- 
king and  I  breasted  that  rush  of  water  and 
humans  to  record  the  disaster.  Having 
sent  a  call  for  help,  I  stuck  in  the  flood 
area,  taking  my  pictures  until  the  water  was 
up  to  my  chest,  even  when  I  perched  on 
the  roof  tops.  My  faith  was  justified.  In 
far  away  New  York,  Mr.  E.  Cohen  my  edi- 
tor had  managed  to  charter  a  Chinese  sea- 
plane to  find  me  amid  the  yellow  waters 
of  the  Yangtze.  It  arrived  in  time  to  take 
me  to  safety  and  to  speed  the  film  toward 
the  world's  screens.  The  pictures  were  ex- 
clusive for  the  Paramount  News.  Many 
cinema-goers  will  remember  news-pictures 
of  the  greatest  disaster  that  had  happened 
to  China  since  the  Yellow  river  changed 
its  course.  Millions  of  people  were  drown- 
ed, millions  more  rendered  homeless  and 
starving.  Help  poured  in  to  China,  mostly 
from  America. 

Earthquakes  in  Formosa  in  1935  provided 
another  five  exciting  days.  The  North- 
Eastern  region  was  being  devastated,  and 
after  flying  from  Shanghai  to  Foochow 
and  then  by  tiny  coastal  boat  across  the 
stormy  sea  to  Tai  Hoku,  the  capital  of 
Formosa,  I  set  out  on  foot,  walking  from 
town  to  town  and  taking  pictures  as  I 
went.  Roads  and  bridges  disappeared  after 
I  had  crossed  them  and  I  would  never 
have  gotten  back  to  Tai  Hoku  but  for  the 
guides  who  accompanied  me  to  each  town 
or  village,  leaving  me  there  in  the  hands 
of  another  guide  who  knew  the  immediate 
district.  At  night  I  slept  in  little  hotels 
which  were  made  of  wood  owing  to  the 
country's  frequent  earthquakes.  The  weari- 
ness engendered  by  my  long  daily  walks 
can  \  in;.'  heavy  equipment  under  the  scorch- 
ing sun  made  me  immune  to  any  shocks, 
and  I  slept  soundly  every  night,  whilst 
the  earth  rocked  beneath  me  and  buildings 
fell   to  hits   in   the  village.    My  only  fear 


was  that  the  peculiar  wide  heavy  mosquito 
netting  in  use  there  might  fall  on  me,  and 
envelop  and  strangle  me. 

In  1931  I  joined  Universal  Newsreel  and 
from  then  on  events  were  moving  fast  in 
China.  Starting  with  the  Mukden  "inci- 
dent"' that  set  the  world  ablaze,  I  photo- 
graphed nearly  every  phase  of  the  historic 
events  which  reached  their  climax  with  the 
fall  of  Shanghai,  Nanking,  Canton,  Han- 
kow and  the  continuous  bombing  of 
Chungking. 

But  not  all  the  credit  should  go  to  the 
cameramen;  the  major  part  should  be 
given  to  our  editors.  They  have  to  be  able 
to  set  us  down  in  a  Mongolian  famine  or 
a  first  class  war,  and  know  that  whatever 
the  trouble  is  we  go  in  and  get  the  pic- 
tures. They've  got  to  have  confidence  in 
us,  and  we've  got  to  have  confidence  in 
them.  We've  got  to  know  that  they  appre- 
ciate our  trouble  and  our  dangers.  We've 
got  to  know  that  whatever  jam  we  get  our- 
selves into  for  them,  our  editors  will  work 
intelligently  to  get  us  out.  One  editor  said: 
"You  can't  make  your  men  burn  incense 
before  you.  They've  got  to  know  they're 
working  with  you  and  not  for  you,  if  you 
get  the  results.''  And  it  is  with  this  feeling 
that  we  cameramen  dash  into  the  thick  of 
dangerous  situations. 

Often  I  lived  with  Chinese  and  Japanese 
troops,  camping  with  them,  riding  beside 
them,  lying  side  by  side  with  them,  shoot- 
ing the  news  whilst  they  were  shooting 
each  other.  Then  came  the  Sino-Japanese 
war  of  1932  and  the  "Hongkew  Park" 
bombing  when  several  high  Japanese  Gen- 
erals, diplomats  and  other  officials  were 
seriously  wounded.  One  of  them  Admiral 
Nomura,  now  Ambassador  to  America,  lost 
his  eye  in  that  bombing  of  which  I  got  ex- 
clusive pictures.  General  Shirokawa,  Com- 
mander in  Chief  of  all  Japanese  armies  in 
China,  died  of  wounds;  Shigemitsu,  now 
Ambassador  to  Great  Britain,  lost  his  leg 
and  others  were  severely  wounded.  The 
bomb  was  thrown  by  a  patriotic  Korean, 
who  was  caught  at  the  spot.  What  hap- 
pened after  the  bomb  exploded,  I  leave  to 
the  imagination  of  my  readers.  And  yet, 
I  not  only  got  the  bombing,  but  took  two 
hundred  feet  more  of  the  pandemonium 
and  was  able  to  get  out  of  the  park  with 
my  precious  film  with  the  park  surrounded 
by  angered  Japanese  soldiers  who  would 
shoot  anyone  at  the  slightest  provocation. 

The  Sino-Japanese  war  that  started  from 
the  "Marco  Polo  Bridge"  or  as  Chinese 
called  it  "Luockochiao,"  brought  a  chain 
of  important  coverages  during  which  I 
was  twice  wounded.  Once  when  I  walked 
from  the  Chinese  lines  to  the  Japanese 
through  "NO  MAN'S  LAND."  The  second 
time  was  during  the  bombing  of  the 
Cathey  and  Palace  hotels  on  Nanking  road, 
the  main  street  of  Shanghai.  The  Ameri- 
can magazine  "Time,"  in  its  issue  of  Sep- 
tember 13th,  1937,  published  a  photograph 
of  me.    Underneath  it  was  the  rather  pecu- 


liar compliment:  "George  Krainukov's  pic- 
tures were  the  most  gruesome  of  them  all." 

Once  I  was  standing  on  the  corner  of  the 
Bund  and  Nanking  road  watching  two  sil- 
very objects  dropping  from  a  bomber.  .  .  . 
A  few  seconds  later  the  bombs  struck. 
One  hit  the  entrance  of  the  Cathey  hotel 
and  the  other  hit  the  roof  of  the  Palace 
hotel.  I  was  wounded  in  the  knee  by  a 
fragment  of  the  bomb  and  hit  in  the  back 
by  the  bloody  mutilated  body  of  a  Chinese 
who  had  been  killed.  I  was  soaked  all  over 
in  hot  blood.  This  perhaps  saved  my  life. 
I  turned  around  and  got  the  complete  story. 
For  this  the  editor  of  Universal  Newsreel 
sent  me  a  substantial  bonus  and  in  their 
caption  sheet  Volume  IX,  Number  595, 
called  "The  Scoops  of  Scoops,"  they 
wrote:"  .  .  .  George  Krainukov  wounded 
by  a  bomb  fragment,  Universal's  intrepid 
cameraman  stood  up  under  fire  and  kept 
on  grinding,  so  YOUR  screen  might  be  en- 
riched by  the  most  spectacular  scoops  of 
the  century!  The  whole  New  Universal 
organization  is  proud  of  you  George!" 

There  are  many  interesting  and  fascinat- 
ing things  to  write  about  that  would  fill 
the  whole  book.  Suffice  to  say  that  I  have 
been  dozens  of  times  under  direct  machine 
gun  fire,  bombings,  explosions  and  what 
not.  Press  association  once  said:  "George 
Krainukov,  Universal  Newsreel  Staff  Cam- 
eraman in  China,  is  coming  to  be  known 
as  the  luckiest  man  in  China.  And  indeed 
he  does  seem  to  bear  a  charmed  life.  Uni- 
versal Newsreel  today  shows  the  first  scenes 
of  the  capture  of  Shanghai  which  Krainu- 
kov took  under  the  most  dramatic  circum- 
stances and  at  the  eminent  risk  of  his  life. 
Two  of  his  companions  on  the  roof  of  a 
75  foot  water  tower  in  French  Concession 
were  hit  by  machine  gun  bullets  which 
probably  were  fired  at  Krainukov's  camera, 
yet  Krainukov  escaped  without  a  scratch 
and  even  filmed  the  removal  of  his  killed 
companion  the  British  war  correspondent 
Pembroke  Stephens." 

In  Nanking  when  huge  Japanese  bomb- 
ers droned  over  the  Nationalist  capital, 
dropping  a  hail  of  high-explosive  missiles 
as  Tokyo  acted  to  execute  its  threat  to  de- 
stroy the  city.  I  cheated  death  by  inches 
as  one  of  the  Japanese  raiders  fell  in  front 
of  my  camera,  damaging  my  car.  I  stood 
there  by  my  camera,  recording  the  most 
ruthless  air  raid  in  the  history  of  the  world 
up  to  that  time.  With  me  on  the  roof  were 
famous  and  daring  cameramen :  Eric  May- 
ell,  Arthur  Menken,  who  took  the  danger 
as  a  matter  of  fact.  While  another  ace 
cameraman  "Newsreel  Wong"  in  Shanghai 
was  covering  his  famous  story  of  the  bomb- 
ing of  the  South  Station. 

I  have  been  shooting  a  news  camera  for 
the  last  nineteen  years  and  have  taken  hun- 
dreds of  thousands  of  motion  pictures  of 
Chinese  life  and  Chinese  strife,  from  Shang- 
hai West  to  the  far  interior  of  Thibet, 
North  China  and  Mongolia  and  to  the 
French  Indo-China.  The  distances  to  be  cov- 


ered  were  great  and  often  New  York  send- 
ing me  on  assignment,  would  think  I  could 
be  there  in  a  day  or  two,  when  it  took  me 
sometimes  weeks  before  I  could  reach  the 
place. 

During  political  unrest  and  constant 
changing  of  armies  and  due  to  the  manner 
in  which  the  various  scenes  that  I  photo- 
graphed of  Chinese  war  were  used,  with 
commentary  entirely  sympathetic  to  the 
Chinese  people,  my  life  became  endangered 
because  my  pictures  were  undisputable 
proof  of  what  was  taking  place  and  natur- 
ally forces  opposing  the  Chinese  could 
not  have  a  very  warm  spot  in  their  hearts 
for  me,  so  I  decided  that  it  would  be 
longer  and  healthier  for  me  if  I  made  my 
home  in  America,  because  when  the  insur- 
ance company  in  Tokyo  began  selling  poli- 
cies issued  in  time  of  30,  60  and  90  days 
...  it  was  time  to  go  some  place  and  that 
place  was  not  Shanghai. 

In  the  latest  occupation  of  Shanghai, 
passes  issued  in  the  previous  war  by  offi- 
cers that  now  occupied  commanding  posts 
were  useful.  It  was  lucky  for  us  that  they 
used  the  same  officers  in  both  wars. 

However,  those  were  the  most  exciting, 
destructive  and  yet  most  comfortable  wars 
we  ever  had.  Days  in  the  trenches  and 
nights  in  hotels  and  clubs  with  fellow  cam- 
eramen or  journalists,  such  as  Joe  Rucker 
of  Paramount;  Eric  Mayell  of  Fox  Movie- 
tone; Ariel  Varges,  Bonny  Powell  who 
took  hand  to  hand  fighting  from  the 
"Doomed  Battalion";  Newsreeler  Wong 
who  nearly  lost  his  head,  but  escaped  to 
Hongkong;  A.  Alexander  with  Tappen, 
poor  fellows  who  lost  their  lives  while  on 
the  job;  Paul  Heise,  ever  smiling  and 
friendly;  big  husky  Mervyn  Freeman  who 
crossed  the  ocean  to  work  in  the  war  in 
1932;  Floyd  Gibbons,  the  one-eyed  re- 
porter; Howard  Winner,  young  and  brave 
cameraman,  who  was  replaced  later  by  an- 
other ace,  Norman  Alley  who  photo- 
graphed the  sinking  of  the  Panay.  Yes, 
that  was  a  great  time  and  fine  men  we  had 
there ! 

Political  situations  in  China  make  my 
work  there  now  more  dangerous  than  ma- 
chine gun  bullets  or  bombings  and  so  my 
company  granted  me  "home  leave."  But  I 
have  no  home.  Thanks  to  my  many  Amer- 
ican friends  who  helped  me  to  get  an  immi- 
grant quota  visa,  now  I  am  here.  In  God's 
country,  where  people  are  free  and  friend- 
ly. My  immediate  plans  are  indefinite. 
However,  it  doesn't  matter.  What  does  mat- 
ter is  that  I  am  on  American  soil,  that  I 
am  in  a  free  country  and  my  wife  and  I 
are  very  happy.  What  may  happen  to  us 
is  all  in  the  hands  of  God  and  our  good 
friends.  I  know  only  this:  that  someday 
I'll  find  my  little  place  under  the  friendly 
sun  in  America  and  here  hope  to  make  my 
home  and  be  a  good  American  citizen — a 
home  in  the  country  that  I  always  have 
dreamed  of. 


SWORDFISHING  WITH  SHACKELFORD 


Shackelford  and  his  party  off  Piercy  Rock,  northwest  New  Zealand.  It 
was  here  they  caught  the  record  swordfish  of  the  trip.  This  rock  juts 
up  400  feet  out  of  the  sea  with  nearly  perpendicular  sides.  Seamen 
claim  they  have  sighted  with  field  glasses  the  Tuatara  lizards  on  the 
two-acre  flat  top.  This  dinosaur-like  animal  is  the  oldest  living  creature 
on  earth. 


Floods  End  Plans  for 
Underground   Premiere 

Warner  Bros,  has  been  obliged  to  cancel 
its  plans  for  a  premiere  of  "Underground" 
in  the  Carlsbad  Caverns,  New  Mexico.  The 
studio  has  been  notified  by  the  Federal 
Government  that  flood  waters  inundated 
portions  of  the  caverns  and  that  the  huge 
underground  auditorium  could  not  be  dried 
completely  before  June  28,  the  date  set 
for  the  film's  national  release. 


Fox  Purchases  "A  House  at  Peace" 

A  brilliant  new  novel  on  present-day 
England,  "A  House  at  Peace,"  was  pur- 
chased by  Darryl  F.  Zanuck,  20th  Cen- 
tury-Fox production  chief,  from  Charles 
Morgan,  noted  British   author. 

The  novel,  bought  as  a  vehicle  for  Henry 
Fonda,  tells  of  England  in  the  war,  al- 
though there  is  no  conflict  in  the  story.  It 
reflects  the  feeling  of  the  war,  how  it  was 
broken  and  disarranged  the  lives  of  all  the 
people  in  England. 


International  Photographer  for  July,  1941 


"Father  Takes  a  Wife,"  RKO  Radio  Production 


Stills  by  Ernest  Bachrach 


Starring   Gloria   Swanson   and    Adolphc   Menjou 


« 


"fAThER  TAliES  A  wifE"  ' 


ANd  it's  qlORJA 


Since  Gloria  Swanson  left  pictures  in 
1934  to  engage  in  the  manufacturing  busi- 
ness, until  her  return  in  RKO  Radio's  cur- 
rently filming  "Father  Takes  a  Wife,"  there 
has  ben  no  change  in  her  film  appearance 
except  her  eyes. 

But  that  change  is  due  to  change  in  pho- 
tographic film,  according  to  Ernest  Bach- 
rach,  who  photographed  the  star  for  seven 
years  and  is  again  her  official  portrait  man. 

"Formerly,  when  we  used  ortho-chro- 
matic film,"  Bachrach  explained,  "Miss 
Swanson's  eyes  photographed  light  grey. 
Today,  with  the  use  of  panchromatic  film, 
her  eyes  are  considerably  darker — but  still 
as  luminous. 

"Otherwise,  the  same  exotic  quality,  the 
cooperation  in  posing  and  the  photogene- 
ity,  are  still  there." 

As  the  Swanson  swept  before  the  click- 
ing cameras  at  RKO  last  week  in  a  cloud 
of  white  bridal  chiffon,  250  blase  show- 
hardened  movie  extras  suddenly  went  pop- 
eyed,  then  berserk  with  a  spontaneous  burst 
of  cheering. 

A  sincere  tribute  which  Gloria  knew  how 
to  accept — with  the  proper  admixture  of 
graciousness  and  savoir  faire. 

The  incident,  as  much  as  anything  else, 
indicates  the  universal  affection  Gloria 
Swanson  has  had  since  she  became  a  screen 
glamour  star,  the  kind  of  affection  given 
only  to  Wally  Reid,  Rudolph  Valentino 
and  Will  Rogers. 

As  far  as  externals  go,  she  might  have 
left  Hollywood  only  last  week  instead  of 
seven  years  back. 

Wherever  the  distinguished  French 
clothes  designer,  Rene  Hubert,  went  in 
Hollywood,  Los  Angeles  and  Beverly  Hills 
when  gathering  together  accessories  for  the 
$10,000  eighteen-change  wardrobe  for 
"Father  Takes  a  Wife,"  tradesfolk  were 
similarly  all  aflutter.  Many  were  the  per- 
sonal and  endearing  messages  they  asked 
Hubert  to  deliver  "to  Gloria." 

More  than  500  telegrams  arrived  at  the 
studio  from  astute  exhibitors  throughout 
the  land  congratulating  RKO  on  the  casting 
coup — and  asking  for  booking  dates. 

Work  at  the  Melrose-Gower  film  plant 
was  practically  at  a  stand-still  that  morning 
Miss  Swanson  worked  before  the  cameras 
for  the  first  time.  Not  only  the  secretaries 
wanted  to  see  the  famous  star,  but  the  en- 
tire contract  list  of  stars  and  leads  wanted 
a  first,  or  another  peek  at  Gloria. 

"She's  marvelous,"  was  the  unqualified 
consensus  of  opinion  everywhere,  espe- 
cially from  the  boys  and  girls  of  the  press, 
who  were  among  the  first  in  the  goggle- 
eved  rush. 


Perhaps  not  all  the  interest  was  centered 
in  Miss  Swanson.  The  teaming  of  Holly- 
wood's two  most  famous  clothes  horses, 
Gloria  Swanson  and  Adolphe  Menjou,  is 
a  fashion  world  event  in  itself. 

The  two  play  the  title  roles  in  "Father 
Takes  a  Wife,"  which  is  a  reverse-English 
story  of  matrimony  by  Herbert  and  Dor- 
othy Fields. 

As  a  glamour  stage  star,  a  made-to-order 
role  for  Miss  Swanson,  the  wardrobe  is 
all-inclusive — a  negligee,  evening  gown  and 
wrap;  traveling  outfit  with  fur  coat;  eve- 
ning dress;  hostess  gown;  dressing  gown; 
afternoon  outfit;  traveling  outfit  and  fur 
coat  I  another  one )  ;  slacks  for  a  boat  scene 
I  first  time  Swanson  has  worn  them )  ;  gym- 
nasium costume;  luncheon  outfit. 

Street  ensemble;  dinner  dress;  evening 
gown  and  wrap;  night  dress  and  negligee; 
afternoon  dress;  another  street  ensemble; 
dress  for  day  wear.  In  all  eighteen  layouts 
— costing  plenty. 

Of  late  as  president  and  general  manager 
of  Multiprises,  Incorporated,  a  concern  in 
Queens,  New  York,  Miss  Swanson  hasn't 
been  idle.  It  took  a  script  like  "Father 
Takes  a  Wife,"  being  directed  by  Jack 
Hively,  to  draw  her  to  Hollywood  again. 

"One  day  I  was  reading  the  scenario 
sent  me  by  RKO,"  said  the  actress,  "and 
without  much  enthusiasm  or  hope — when 
suddenly  it  dawned  on  me  that  the  story 
was  my  story  and  the  chief  character  my 
own  self.    I  was  sold." 

She  was  born  in  Chicago,  Illinois,  March 
27,  1898.  Her  father  was  a  Captain  I  later 
a  Lieutenant-Colonel)  in  the  United  States 
Army.  His  name:  Joseph  Theodore  Swan- 
son. 

Because  of  the  continuous  routine  change 
of  stations,  little  Gloria  received  schooling 
in  sixteen  different  army  posts — in  Chi- 
cago, New  York,  Porto  Rico,  Key  West, 
Florida,  Utah,  Mexican  Border  and  other 
places. 

Gloria's  earliest  ambition  was  to  be  an 
artist.  To  further  it  she  attended  the  Chi- 
cago Art  Institute  at  the  age  of  14  and 
attracted  considerable  attention  for  her 
black  and  white  sketches. 

At  the  age  of  15,  her  aunt  took  her  on  a 
visit  to  the  old  Essanay  Studio  in  New 
York.  Greta  Holmes  was  starring  in  the 
picture  and  the  director,  a  friend  of  the 
aunt's,  gave  the  youngster  a  bit  in  the  film 
— just  for  a  lark. 

Her  striking  beauty  photographed  so 
well,  so  amazingly  well,  in  fact,  that  Es- 
sanay signed  her  on  a  long  term  contract 
and  starred  her  in  "Elvina  Farina'  and 
"The  Meal  Ticket." 


The  following  year  she  went  to  Holly- 
wood with  her  mother  and  made  a  number 
of  comedies  with  Mack  Sennett  and  Key- 
stone, in  which  she  co-starred  with  Bobby 
Vernon  and  other  celebrities. 

Next  she  signed  with  Triangle  and 
starred  in  "Her  Decision,"  "Every  Wo- 
man's Husband.  "Wife  or  Country," 
"Secret  Code,"  "Station  Content,"  "Shift- 
ing Sands"  and  "Smoke." 

Her  work  attracted  the  attention  of  C.  B. 
DeMille  and  under  his  direction  she  soared 
to  fame — in  "Don't  Change  Your  Hus- 
band," "For  Better  or  Worse,"  "Male  and 
Female,"  "Why  Change  Your  Wife?" 
"You  Can't  Believe  Everything,"  and  "Af- 
fairs of  Anatol." 

After  three  years  with  DeMille  she  sign- 
ed with  Famous  Players  and  made  a  string 
of  successful  vehicles,  among  them  "The 
Great  Moment,"  "Under  the  Lash,"  "Her 
Husband's  Trade  Mark,"  "Beyond  the 
Rocks,"  "The  Gilded  Cage."  "The  Impos- 
sible Mrs.  Bellew,"  "My  American  Wife," 
"Prodigal  Daughter,"  "Bluebird's  Eighth 
Wife,"  "Zaza,"  "The  Humming  Bird,"  "So- 
ciety Scandal,"  "Manhandled,"  "Wages  of 
Virtue,"  "Madame  San  Gene,"  "Coast  of 
Folly,"  "Stage  Struck,"  "Untamed  Lady" 
and  "Fine  Manners." 

In  May,  1926,  she  joined  United  Artists 
to  produce  her  own  pictures.  The  first  of 
these  was  "Loves  of  Sonya,"  in  which  John 
Boles  made  his  screen  debut  as  leading 
man.  Then  came  "Sadie  Thompson,"  "The 
Trespasser,"  "What  a  Widow,"  "Indis- 
creet," and  "Tonight  or  Never." 

In  1933  she  made  "Perfect  Understand- 
ing" for  a  British  film  organization,  and 
returned  to  the  United  States  in  1934  to 
Fox  and  again  teamed  with  John  Boles  in 
"Music  in  the  Air." 

Few  stars  have  had  such  a  long  and  sus- 
tained and  successful  acting  career  .  .  . 
Fewer  have  so  well  personified  glamour 
and  worn  clothes  .  .  .  She  is  five  feet,  one 
and  a  half  inches  tall,  and  weighs  110 
pounds  .  .  .  Has  dark  brown  hair  and  re- 
markably brilliant  eyes  of  deep  sapphire 
blue  .  .  .  She  has  many  friends  of  long 
standing  .  .  .  Hates  loneliness  and  has  an 
unreasonable  fear  of  the  water  .  .  .  Likes 
having  people  in — and  her  delightful  after- 
noon teas  have  become  legendary  in  Holly- 
wood, New  York  City  or  wherever  she 
happens  to   reside. 

Devoted  to  tennis  and  to  dogs  .  .  .  Has 
three  children,  Gloria,  Joe  and  Michele. 

Loves  flowers  .  .  .  plays  "hunches"  .  .  . 
rides  like  the  wind — a  left  over  from  her 
army  days  at  cavalry  posts. 


International  Photographer  for  July,  1941 


ANIMATEd  CARTOON 

phoTOQRAphy 


By  John  W.  Burton 


A  far  cry  from  the  glamorous  conditions 
of  Class  A  feature  production,  animated 
cartoon  photography  undoubtedly  is  no 
mystery  to  most  of  you,  but  for  those  who 
never  have  had  the  pleasure  of  being  in  a 
cartoon  studio,  a  few  words  of  explana- 
tion. 

Those  of  you  who  are  familiar  with  the 
subject  know  that  motion  pictures  are  pho- 
tographed at  the  rate  of  ninety  feet  a  min- 
ute, which  is  exactly  twenty-four  frames  a 
second.  The  film  thus  obtained  gives  a 
photographic  record  of  progressive  posi- 
tions of  the  action. 

In  animated  cartoon  production  this  pro- 
cedure practically  is  reversed.  We  analyze 
the  action  to  be  photographed,  then  make 
a  series  of  cartoon  drawings  representing 
the  number  of  frames  of  film  required  by 
the  timing  we  want.  These  drawings  are 
painted  on  clear  sheets  of  celluloid  and 
photographed  in  their  proper  sequence 
over  a  background  that  has  been  painted 
to  represent  the  scene  or  setting.  The  re- 
sult is  a  strip  of  motion  picture  film  of 
progressive  cartoon  drawings  that  give  us 
the  illusion  of  motion  when  projected. 

Our    cartoon    camera    cranes    are    con- 


structed so  that  the  camera  is  suspended 
from  above  the  photographic  field,  which 
is  like  a  table  surface,  equipped  with  a 
glass  plate  operated  by  air  pressure  to  hold 
the  celluloid  drawings  flat  over  the  back- 
ground. Bell  &  Howell  cameras  are  used, 
equipped  with  a  "stop  motion"  drive  and 
are  set  on  a  worm  gear  which  allows  the 
cameras  to  be  raised  or  lowered,  permitting 
the  cartoon  equivalent  of  "truck  shots." 
In  certain  shots  to  give  the  illusion  of  fol- 
lowing the  action,  or  "panning,"  long 
backgrounds  are  made  and  between  each 
exposure  the  cameraman  moves  the  back- 
ground a  certain  predetermined  distance. 

In  cartoon  photography  the  cameraman 
must  be  gifted  with  a  great  deal  of  patience 
as  well  as  a  very  methodical  mind  as  each 
exposure  requires  an  accurate  set  up.  For 
example:  in  many  scenes  in  addition  to  see- 
ing that  the  camera,  color  filters,  take-up, 
etc.,  are  operating  correctly,  he  must  re- 
member to  change  the  drawings  correctly 
according  to  their  sequence,  move  the 
background  the  required  distance  for  pan 
shots,  truck  the  camera  up  or  down,  follow 
focus,  as  well  as  possibly  changing  the 
shutter  each  frame  should  he  be  fading  or 


Henry    II.    ("Smoky")    (iarner    ami    Manuel 
Oirral    at    work    in    Leon    Sehlehinger    Studio. 


The  author  of  this  article. 


dissolving.  Each  cartoon  has  about  12,000 
such  exposures.  This  might  explain  why 
most  of  us  boys  seem  a  bit  "tetched  in  the 
haid." 

For  various  camera  and  optical  effects 
used  in  production,  the  camera  depart- 
ment has  accumulated  an  amusing  variety  : 
of  home  made  trick  lenses.  For  such  effects  J 
as  used  in  water  scenes,  heat  effects  and  in 
shots  requiring  special  distortions,  a  col- 
lection of  glass  dishes,  bottles,  bowls  and 
pieces  of  window  glass,  some  treated  with 
solutions  and  others  warped  after  heating, 
have  been  acquired,  making  a  rather  un- 
usual assortmnt  of  optical  equipment. 

Some  animation  that  should  be  quite 
lifelike  or  human  in  its  action  presents  a 
rather  difficult  problem  of  analysis  which 
we  often  overcome  by  actually  photograph- 
ing human  actors  and  actresses  going 
through  the  action  to  be  done  later  in  ani- 
mation.  This  gives  us  our  only  excuse  for  i 
occasional  location  trips  as  well  as  pro- 
viding the  opportunity  to  "keep  our  hand 
in"  with  regular  production  equipment. 
The  motion  picture  film  of  this  human  ac- 
tion is  used  by  the  animators  to  analyze 
and  otherwise  assist  them  in  the  animation 
of  the  cartoon  characters.  Some  of  these  i 
shots  have  been  quite  interesting.  For  in- 
stance, the  strip  tease  sequence  in  the  car- 
toon "Cross  Country  Detours"  and  the  | 
bubble  dancer  in  the  picture  "Hollywood 
Steps  Out." 

Several  color  cartoons  have  been  pro- 
duced by  Mr.  Schlesinger  that  have  incor- 
porated the  use  of  actual  motion  picture 
sequences  in  conjunction  with  animation.  : 
This  offered  an  interesting  problem,  as 
Technicolor  cartoons  are  photographed  on 
a  single  strip  of  negative  with  the  three 
color  separations  for  each  frame  in  sue- 
cessive  order,  while  regular  Technicolor 
pictures  use  three  separate  negative  strips. 
This  makes  impossible  the  intercutting  of 
cartoon  Technicolor  and  regular  Techni- 
color. To  use  the  regular  Technicolor  in 
(Continued  on  page  25) 


10 


pARAdJSE  SOUTJj 


By  Burr  McGregor 


At  Xochimilco,  centuries  of  romance 
still  lingers  under  the  bright  sun  that  looks 
down  upon  "The  Place  of  the  Flowers," 
Mexico's  famous  paradise  of  flowering 
beauty,  a  short  ride  south  of  the  Mystic 
City. 

Way  back  in  the  thirteenth  century,  one 
of  the  Nahualtac  tribes,  the  Xochimilcas, 
were  vanquished  by  the  savage  onslaughts 
of  the  invading  Aztecs,  who  in  turn  were 
driven  back  by  a  powerful  chief,  Coxcoxtle, 
into  the  far  reaches  of  the  reed-growing 
shores  of  a  lake,  where  they  survived  by 
constructing  "Chinampas,"  great  floating 
masses  of  reeds  and  brush,  laced  and  in- 
tertwined, and  covered  with  earth  upon 
which  the  builder  placed  his  tiny  shelter- 
hut  and  planted  his  crop  in  the  earth  of 
his  floating  garden. 

Increasing  in  numbers,  the  gardens  float- 
ed out  upon  the  surface  of  the  lake,  to  be 
pushed  about  and  bumped  together  as 
willed  by  the  vagaries  of  the  changing 
winds  until  a  way  was  devised  to  hold 
them   apart. 

Long,  green  willow  and  poplar  poles 
forced  through  the  earth-matting  around 
the  edges  of  the  "island"  into  the  bed  of 
the  lake;  the  poles  took  root,  anchoring 
the  little  "islands,"  separating  them  with 
waterways  and  canals  between.  As  the 
waterways  became  clogged  they  were 
dredged  and  the  accumulation  of  silt  and 
vegetable  matter  thrown  back  on  the  "is- 
land,' increasing  its  fertility  and  lowering 
it  until  it  became  permanent. 

Thus,  in  time,  each  island-garden  was 
bordered  with  slender  graceful  willow  and 
poplar  trees  of  brilliant  green  foliage, 
spreading  cooling  shadows  across  the  gar- 
dens and  waterways  with  their  intertwined 
roots  building  a  bulwark  against  the  ero- 
sion of  water  action,  and  lapping  waves, 
from  passing  boats  to  and  from  neighbor- 
ing gardens  and  growing  markets. 

Xochimilco  was  one  of  the  most  stubborn 
and  bitterly  contested  strongholds  of  the 
Aztecs  to  be  conquered  by  the  Spaniards. 
Fighting  was  ferocious  on  both  sides,  with 
fearful  slaughter. 

For  a  trifling  charge  we  engaged  a  com- 
fortable, flat-bottom,  square-blunt-ended, 
canopied  boat,  propelled  gondola-like  by  a 
handsome  bronzed  descendant  of  the  proud 
Aztec  race;  tall,  lean  and  broad  should- 
ered, courteous  and  pleasantly  indifferent, 
whose  dark  eyes  danced  and  sparkled  as 
he  pointed  out  the  island-gardens  that  have 
produced  in  abundance  since  the  days  of 
his  forefathers,  luscious  fruit,  berries  and 
vegetables  and  fragrant,  exotic  flowers  of 
wonderful  bloom  and  color. 

Lazily,  dreaming  of  romance,  we  floated 


through  the  morning  along  the  smooth 
waterways  till  noon  and  our  boatman  pro- 
pelled the  craft  into  an  indenture  of  a 
garden  bank.  He  hailed  one  of  many  other 
craft  of  musicians,  and  one  of  a  kind  pro- 
pelled by  a  comely  native  young  woman. 
In  the  center  of  her  canoe  was  a  tiny  stove- 
arrangement  fed  by  charcoal,  upon  which 
she  could  prepare  a  delicious  meal  from 
food  neatly  stored  and  protected  along 
the  sides  of  her  canoe. 

With  the  musicians  on  one  side,  and  the 
refreshment  canoe  on  the  other,  we  dined 
and  dreamed  amid  the  beauty  and  frag- 
rance of  myriad  colored  blooms,  in  the 
cool  shade  of  ancient  trees,  to  the  soft 
strains  of  stringed  instruments  and  plain- 
tive lullabies. 

Back  in  the  waterways,  propelled  along 
by  the  sweep  and  pole  of  the  boatman,  he 
threaded  our  course  through  an  intricate 
and  colorful  water  traffic  of  craft  laden 
with  market  produce  and  singing,  laugh- 
ing, musical  holiday  seekers. 

To  our  right,  to  our  left,  passed  great 
masses  of  roses,  lilies,  carnations,  growing 
in  brilliant  gardens  and  loaded  high  in 
canoes  on  their  way  to  the  great  flower 
market  of  the  city. 

Birds  of  brilliant  plumage  mingled  their 

(Continued  on  page  21) 


COOKE  CINE  LENSES 

Cooke  lenses  will  give  you  crisp, 
extremely  sharp  definition 
throughout  the  entire  spectrum. 
Envisioning  future  demands, 
Cooke  lenses  have  always  sur- 
passed current  requirements. 
Focal  lengths  for  every  need. 
Write  for  descriptive  literature. 

BELL   &   HOWELL 

COMPANY 

Exclusive  World  Distributors  of 
Taylor-Hobson  Cooke  Cine'  Lenses 

1848  Larchmont  Avenue,  Chicago 

New  York:  30  Rockefeller  Plaza 
Washington,  D.C. :  1221  G  St.,  N.W. 

Hollywood:   716  N.  LaBrea  Ave. 

London:    13-14   Great    Castle    St. 


Main   canals  thirty   to   fifty   feet   wide 


International  Photographer  for  July,  1941 


11 


"A  Thousand  Cameras,"  by  Bert  Longworlh,  from  Warner  Bros.'  short, 
"Richard  Ilimher  and  His  Band."  These  shots  were  made  with  two 
old  mirrors,  about  twelve  feet  wide,  used  in  "Gold  Diggers  of  1936," 
one  of  the  mirrors  having  acquired  a  large  bulge  from  having  stood 
so  long.  The  lighting  is  all  from  the  side,  whieh  when  reflected  gives 
the  front  lighting.  First  eameraman,  Arthur  Todd;  operative  camera- 
man,  George  INogle;  assistant,  Frank  Evans;  stills,  Bert  Six;  director, 
Jean   Negulesco;   assistant   director,   Jaek    Sullivan. 


12 


the  kodATRON 


High  Speed  Lighting  Unit  plays  an  important  role  in  Commercial, 
Illustrative,  News,  Portrait,  Medical,  Scientific  and  Technical  Fields 


To  the  photographer,  the  new  Kodatron 
Speedlamp  opens  the  way  for  pictures  of 
superb  technical  quality  in  either  black- 
and-white  or  Kodachrome,  at  extremely  low 
illumination  cost,  with  extremely  small 
lens  apertures,  and  with  no  chance  of  sub- 
ject motion  in  the  negative  or  color  trans- 
parency. Completely  modern  and  incor- 
porating an  improved  circuit,  new  safety 
and  convenience  features,  this  unit  is  at- 
tractively styled  for  use  in  the  finest  studio. 

Some  of  the  advantages  include: 

1.  Critically  sharp  pictures  of  subjects 
moving  at  high  speed. 

2.  Simple,  positive  synchronization  with 
most  types  of  camera  shutters,  and  no  need 
of  adjustment  for  lag. 

3.  Ability  to  flash  any  number  of  lamps 
in  unison,  with  perfect  synchronization,  by 
means  of  simple  photocell  control  units 
which  eliminate  the  need  of  wiring  from 
lamp  to  lamp. 

4.  High-speed  color  photographs  with 
Kodachrome  Film,  in  addition  to  black- 
and-white  photographs. 

5.  Great  depth  of  field,  owing  to  the 
small  apertures  which  are  made  possible 
by  the  high  volume  of  light. 

6.  Uniform  volume  of  light  at  each  flash, 
with  no  practical  deterioration  as  the  flash 
tube  ages. 

Tube  Yields  More  Than  5,000  Flashes 

7.  Long  life  of  the  flash  tube  (upwards 
of  5,000  flashes ) . 

8.  Subject  comfort  in  pictures  which 
include  models,  and  better  conditions  for 
commercial  subjects  such  as  food  displays 
which  deteriorate  readily — since  the  Koda- 
tron lamp  is  free  from  the  heat  produced 
by  conventional  high-wattage  studio  lamps. 

9.  Accuracy  of  modeling,  a  modeling, 
or  focusing  lamp  being  centered  in  each 
flash  tube  so  that  the  angle  of  lighting  is 
precisely  the  same  for  both  flash  and  mod- 
eling light.  The  modeling  light  also  gives 
a  faithful  preview  of  the  light  balance  that 
will  be  obtained  in  the  flash  photograph. 

10.  No  eye  discomfort  for  subjects,  be- 
cause of  the  extreme  brevity  of  the  flash. 
To  the  eye,  the  Kodatron  flash  appears 
much  softer  and  far  less  intense  than  other 
types   of   photographic    flash    illumination. 

11.  Normal  pupil  size  in  a  subject's  eyes, 
owing  to  the  moderate  illumination  level 
used  in  modeling  and  focusing. 

12.  A  specially-designed  reflector  which 
yields  illumination  intermediate  between 
that  of  a  spotlight  and  a  floodlight.  Well 
suited  for  general  lighting,  the  reflector  is 
also  directional  enough  to  increase  the  in- 
tensity along  the  axis  to  a  considerable  de- 
gree, for  shots  at  long  range. 

13.  Unique  economy  of  operation,  owing 

International  Photographer  for  July,  1941 


to  the  long  life  of  the  flash  tube,  extreme 
durability  of  tubes  in  the  power  unit,  and 
an  indefinitely  long  life  for  the  power  unit 
itself. 


14.  Low  power  consumption,  which  ef- 
fects a  substantial  two-way  saving:  first, 
in  lower  electric  bills;  second,  in  studio 
wiring  requirements.  The  Kodatron  Speed- 


13 


"Anchored"  in  High  Speed  Action  with  the  KODATRON. 


Starting  upper  loft,  reading  right:  Jack  Col*'  and  partner;  Betty  Crable  and  Homer  Pan, 
from  Twentieth  Century  Fox  Production,  "Moon  Over  Miami,"  stills  by  Frank  Powolny; 
next  three  stills  are  by  courtesy  of  Faslman  Kodak  Company;  upper  right  and  on  with 
the  next  two,  Anna  INeagle  and  Ray  Bolger  in  their  dance  routine  in  the  RKO  Radio 
filmusical,  "Sunny,"  stills  by  Alex  Kahle;  with  hats  in  the  air  are  the  INicholis  Brothers, 


14 


(See  story  starting  on  page  13) 


shot  by  Frank  Powolny  in  Twentieth  Century  Fox  Production,  "Sun  Valley  Serenade"; 
Ann  Neagle  and  Ray  Bolger  dancing  the  Sailor's  Hornpipe  in  "Sunny";  two  lowers 
page  14  from  the  same  production,  stills  by  Alex  Kahle;  the  figure  that  looks  like  the 
scarecrow  with  Ginger  Rogers  is  really  Burgess  Meredith  in  a  scene  from  the  fantasy 
sequence  in  "Tom,  Dick  and  Harry,"  RKO  Radio  romantic  comedy,  still  by  John  Miehle ; 
and  last  is  another  scene  from  "Sunny"  of  Anna  Neagle  and  Ray  Bolger  by  Alex  Kahle. 


15 


lamp  does  not  require  the  special   wiring 
necessary  for  ordinary  studio  lamps. 

15.  Reasonable  portability.  Reflectors 
and  power  units  for  three  lamps  can  be 
carried  in  the  rear  end  of  a  business  coupe 
or  sedan. 

Solves  Long-Standing  Problems 

With  the  Kodatron  Speedlamp.  ultra- 
speed  photography  is  no  longer  a  labora- 
tory stunt.  Subject  motion,  once  a  prob- 
lem in  many  fields  of  photography,  is  now 
an  asset.  The  new  lamp  also  provides  com- 
plete freedom  from  certain  other  limita- 
tions of  the  past,  and  greatly  extends  the 
range  of  practical  photographic  subjects, 
treatments  or  effects.  For  the  commercial 
and  illustrative  studio,  it  solves  the  an- 
cient three-horned  dilemma  of  subject  mo- 
tion, field  depth,  and  adequate  illumination 
— especially  in  color  photography.  In  the 
scientific,  medical,  and  technical  fields,  its 
uses  are  virtually  unlimited.  It  has  definite 
application  in  portrait  photography,  when- 
ever an  apparently  unposed,  characteristic 
effect  is  desired,  or  when  the  subject  is  a 
child  or  unpredictable  pet. 

Where  large  areas  are  to  be  covered, 
the  Kodatron  lamp  has  unusual  value  be- 
cause of  its  long  throw  and  great  intensity. 
In  spite  of  its  apparent  mildness,  the  single 
flash  provides  illumination  equivalent  to 
that  of  50,000  forty-watt  tungsten  lamps. 
This  quantity  of  light  is  sufficient  to  pro- 
vide a  fully-timed  negative  of  an  average 
subject  30  feet  from  the  camera  at  a  lens 
aperture  of  f/11,  when  used  with  films 
especially  recommended  for  this  type  of 
radiation.  Correspondingly  smaller  aper- 
tures can  be  used  when  the  subject  is 
nearer  the  lamp    (or  lamps). 

The  Kodatron  flash  is  accomplished  by 
discharging  a  condenser  through  a  gas- 
filled  tube.  Ordinary  115-volt,  60-cycle 
current  is  led  into  the  power  unit  of  the 
lamp,  where  a  specially-constructed  trans- 
former steps  it  up  to  2,000  volts.  This 
current  is  then  rectified  and  used  to  charge 
a  condenser.  When  the  trip  circuit  is  closed 
( manually,  by  a  flash  synchronizer,  or  by 
the  photocell  unit),  the  energy  stored  in 
the  condenser  is  discharged  through  the 
tube,  producing  a  flash  of  high  photogra- 
phic  efficiency. 

In  photography  with  the  Kodatron 
lamp,  the  time  of  exposure  is  fixed  not  by 
the  shutter  speed  used  but  by  the  duration 
of  the  flash.  An  effective  flash  duration  of 
nearly  1/30,000  second  combines  high  vol- 
ume of  light  with  ability  to  stop  virtually 
any  moving  subject,  except  a  rifle  bullet. 
In  these  high  speed  lamps,  the  time  of  the 
flash  is  determined  by  the  capacity  of  the 
main  condenser  in  the  power  unit.  By 
iisin^'  a  small  condenser,  it  would  be  pos- 
sible to  speed  up  the  flash  to  any  desired 
point — such  as  1/1,000,000  of  a  second, 
or  less  but  the  volume  of  light  would  de- 
i -line  correspondingly,  thus  reducing  the 
general  utility  of  the  lighting  unit.  For 
this  reason,  and  on  the  basis  of  extensive 


experiments,  this  flash  speed  has  been  se- 
lected as  ideal  for  all-round  usefulness. 

This  flash  speed  is,  of  course,  many  times 
faster  than  the  highest  setting  of  any  cam- 
era shutter.  It  is  several  hundred  times  as 
swift  as  the  wink  of  an  eye,  and  approxi- 
mately ten  times  as  fast  as  is  necessary  to 
stop  an  athlete  in  action.  If  one  second 
were  represented  as  a  mile,  the  effective 
duration  of  the  Kodatron  flash  would  cor- 
respond to  only  a  few  inches  of  this  dis- 
tance. 

An  interesting  feature  is  that,  owing  to 
persistence  of  the  image  on  the  retina  of 
the  eye.  the  flash  seems  to  last  about  1/25 
to  1/50  second;  and  when  a  swift-moving 
subject  is  photographed  by  means  of  these 
lamps,  it  will  appear  to  "freeze"  for  just 
about  that  length  of  time. 

Current  Consumption  is  Small 

With  the  Kodatron  lamp,  one  flash  can 
be  made  every  ten  seconds — this  being  the 
charging  time  of  the  condenser.  The  charg- 
ing takes  place  automatically,  and  the  ten- 
second  period  allows  convenient  time  for 
changing  film  and  resetting  the  camera 
shutter.  Current  consumption  is  quite 
small  during  the  charging  cycle — about 
five  amperes  at  the  start,  decreasing  in  a 
few  seconds  to  less  than  one  ampere — and 
this  explains  the  extreme  operating  econ- 
omy of  the  Kodatron  lamps.  Two  to  three 
of  the  lamps  can  be  operated  safely  on  an 
ordinary  house-lighting  circuit  fused  for 
15  amperes. 

Quality  of  the  Kodatron  light  is  excel- 
lent for  photographic  purposes,  not  only 
in  actinic  value  but  also  in  color  balance. 
Excellent  tonal  rendering  is  obtained  in 
black-and-white  photographs  on  panchro- 
matic films  without  the  attendant  over  cor- 
rection in  the  red,  which  is  characteristic 
of  these  materials  when  used  with  tungsten 
illumination.  For  color  photography,  Pro- 
fessional Kodachrome  Film  yields  highly 
satisfactory  results  when  used  with  moder- 
ate correcting  filters. 

The  Kodatron  Speedlamp  is  a  compact, 
efficient  studio  unit.  It  consists  of  a  power 
unit  8x10x9  inches,  and  an  18-inch  spun- 
aluminum  reflector  on  a  telescoping  steel 
stand  which  can  be  extended  to  a  height  of 
eight  feet — both  mounted  on  a  small  tray- 
top  steel  base  to  which  rubber-tired,  swiv- 
eled  casters  are  attached.  Finish  is  gray, 
with  some  metal  parts  finished  in  polished 
chrome. 

Portable  for  Assignments 

For  assignments  away  from  the  studio, 
newspaper  office,  or  other  base  of  opera- 
tions, the  reflector  and  power  unit  alone 
may  be  used.  Each  power  unit  has  a  con- 
venient carrying  handle  on  top.  Reflectors 
can  be  mounted  on  tripods,  without  need 
of  alterations,  or  can  be  held  by  assistants. 
The  weight  of  the  power  unit  and  reflector 
is  about  40  pounds;  that  of  the  complete 
lamp  with  base,  59  pounds.  Ordinary  resi- 
dence, hotel  or  convention  hall  wiring  is 
adequate  for  these  lamps,  as  noted  above. 


Controls  are  concentrated  in  a  small 
panel  on  top  of  the  power  unit.  These  con- 
trols include  the  flash  trip,  "off  and  on" 
switch  for  the  main  power  line,  and  a  red 
pilot  light  which  shows  when  the  unit  is 
in  operation.  A  single  cable  from  the  pow- 
er unit  to  the  reflector  carries  wiring  for 
both  the  flash  lamp  and  modeling  light. 
The  lamp  cable,  and  the  115-volt,  60-cycle 
electric  supply  cord,  plug  into  the  sides  of 
the  power  unit,  and  must  be  removed  be- 
fore the  hinged  top  can  be  lifted.  This 
arrangement — plus  an  automatic  cut-out 
switch  which  functions  as  the  power  unit 
lid  is  opened  —  makes  it  impossible  to 
touch  a  "live"  connection. 

The  flash  lamp  itself  has  a  tubular  frost- 
ed glass  shell,  fitting  over  a  spiral  glass 
tube  which  contains  a  mixture  of  rare 
gases.  This  is  the  flash  element,  the  gas 
heating  to  incandescence  when  the  con- 
denser charge  is  released  through  it.  Cen- 
tered in  the  coil  of  the  gas  tube  is  the 
modeling  light,  a  projection  type  bulb  of 
moderate  wattage  and  long  life. 

Synchronization  of  the  Speedlamp  to  the 
camera  shutter  action  may  be  accomplish- 
ed by  the  simplest  type  of  contact  adjust- 
ment .  (A  special  synchronizing  unit  for 
use  with  shutters  having  a  cable  release 
socket  is  available. )  After  attaching  the 
synchronizer,  the  shutter  is  simply  held  up 
to  the  lamp,  and  the  release  operated.  If 
the  flash  reveals  the  complete  circular  aper- 
ture of  the  lens,  synchronization  is  perfect; 
if  the  shutter  blades  are  seen  partly  opened, 
a  slight  further  adjustment  is  necessary. 
This  ease  of  checking  makes  it  possible  to 
test  the  synchronization  at  any  time,  with- 
out the  bother  or  expense  of  test  exposures. 

As  many  lamps  as  desired  may  be  flashed 
in  synchronism,  to  cover  large  areas  or  to 
obtain  better  modeling.  Two  methods  are 
practical.  One  is  to  use  wiring  from  lamp 
to  lamp;  the  other,  to  use  small  accessory 
photoelectric  trip  units  which  clip  directly 
to  the  lamp  standard. 

Photocell  Control  is  Convenient 
In  photo-electric  synchronization,  a  pho- 
tocell unit  is  used  on  each  lamp  except 
one,  which  is  connected  by  wire  to  the 
camera  shutter.  Inter-lamp  wiring  is  elim- 
inated, since  the  shutter-actuated  flash  of 
the  first  lamp  fires  all  the  others,  through 
the  action  of  the  photocell  units.  This 
method  of  synchronizing  is  particularly 
convenient  when  the  set-up  is  extensive,  or 
when  lamp-to-lamp  wiring  would  be  in 
the  way. 

Outdoors,  or  in  a  dark-walled  studio, 
the  photocell  units  are  effective  at  dis- 
tances up  to  more  than  fifty  feet,  but  in 
these  locations  each  photocell  must  be 
placed  so  that  it  can  "see"  the  first  lamp. 
In  a  studio  with  light  walls,  the  photocell 
units  will  operate  by  reflected  light,  almost 
regardless  of  their  placing.  They  cannot, 
however,  be  accidentally  actuated  by  day- 
light or  the  general  studio  illumination. 


16 


International  Photographer  for  July,  1941 


17 


UsioiQ  Tht  EXPOSURE  METER 


(Concluded  from  June  issue) 

Exposure  can  be  determined  by  the 
measurement  of  light  falling  on  the  subject 
or  light  reflected  from  the  subject.  Either 
can  be  measured  to  obtain  correct  expos- 
ure. Obviously  the  amount  of  light  falling 
on  the  subject  determines  the  amount  of 
light  that  will  be  reflected.  Usually,  it  is 
more  convenient  to  measure  reflected  light, 
but  the  meter  has  to  be  restricted  to  see 
the  same  scene  as  the  camera.  In  the  G-E 
meter,  this  requirement  has  been  met 
mechanically,  by  means  of  a  directional 
hood  or  baffle  which  limits  the  field  of  view 
to  that  of  the  average  camera.  It  has  a 
horizontal  angle  of  about  50  degrees,  and 
a  vertical  angle  of  about  30  degrees.  The 
vertical  angle  is  made  purposely  narrow  to 
exclude  bright  sky  and  foreground  which 
tends  to  cause  error  in  exposure. 

As  a  rule,  exterior  scenes  are  made  by 
measuring  the  scene  in  the  same  manner 
that  the  picture  is  taken,  with  the  meter 
pointed  at  the  scene.  In  interior  work 
where  extremely  high  contrast  exists,  a 
more  correct  reading  can  be  obtained  by 
measuring  the  light  falling  on  the  subject, 
rather  than  the  reflected  light.  These 
incident-light  readings  are  taken  with  the 
hood  removed  and  the  meter  pointed  at  the 
camera  from  the  subject.  On  a  scene  well 
illuminated  by  artificial  light  with  a  back- 
ground of  no  particular  interest,  only  the 


actual  light  on  the  subject  is  measured. 
If  a  reflection  measurement  were  used  it 
would  be  necessary  to  average  several 
readings  to  obtain  the  best  possible  expos- 
ure for  the  over-all  scene.  So  in  most 
cases  best  results  can  be  obtained  by 
measuring  the  light  falling  on  the  subject 
of  interest. 

The  calculator  on  the  G-E  meter  is 
simply  a  slide  rule  which  enables  you  to 
convert  light  reading  and  film  value  into 
the  proper  combination  of  F  stops  and 
shutter  speed.  The  proper  combination  of 
F  stops  and  shutter  speeds  are  lined  up 
on  the  calculator  and  after  it  is  adjusted 
for  a  reading  any  combination  then  visible 
will  produce  the  correct  exposure.  Small 
lens  openings  line  up  with  longer  exposure 
time  and  large  lens  openings  are  opposite 
shorter  exposure  time,  but  in  each  case 
there  is  a  definite  quantity  of  light  that 
must  fall  on  the  film. 

Other  calculators  can  be  supplied  for  the 
movie  and  sports  photographers.  In  the 
case  of  the  movie  camera  there  is  a  certain 
fixed  shutter  speed,  such  as  16  frames  per 
second.  For  the  sports  photographer  who 
must  use  a  fast  shutter  such  as  one  one- 
hundredth  or  one  one-thousandth  of  a 
second  to  stop  the  action  there  is  also  a 
present  calculator  with  shutter  speed  set 
with  the  film  value.  When  the  light  is 
measured    the    light    value    indicates    the 


By  GLEN  C.  ANDERSON, 
General  Electric  Company 

proper  combination  of  F  stop  to  use  with 
no  further  adjustment.  Hoods  with  these 
different  types  of  calculators  are  readily 
interchangeable  on  the  G-E  meter. 

Now  that  we  know  the  characteristics  of 
the  sensitive  emulsions  that  we  are  work- 
ing with,  the  proper  approach  in  determin- 
ing the  values  of  film  speeds,  and  the 
characteristics  and  design  of  the  instrument 
we  are  working  with,  we  can  intelligently 
use  these  instruments  to  their  best  advan- 
tage. Working  outdoors,  with  flat,  side,  or 
back  lighting,  the  meter  need  only  be 
pointed  at  the  subject  to  obtain  a  usable 
reading.  You  will  notice  that  sidelight  will 
usually  call  for  about  twice  the  exposure 
that  a  sunlit  scene  requires,  because  only 
half  as  much  light  is  being  reflected 
toward  the  camera. 

To  photograph  a  subject  without  regard 
for  background,  take  a  meter  reading 
right  on  the  subject.  If  your  subject  is  out 
of  reach  hold  your  hand  in  the  same 
relative  position  and  take  a  meter  reading 
on  the  back  of  your  hand.  Extensive  tests 
indicate  that  the  color  of  the  average 
person's  hand  is  sufficiently  neutral  to  be 
used  satisfactorily  for  most  subjects.  If 
you  are  in  bright  sunlight  and  your  subject 
is  in  the  shade,  the  light  intensity  of  your 
subject  can  be  duplicated  easily  by  throw- 
ing a  shadow  across  your  hand  for  the 
(Continued  on  page  26) 


G-E  EXPOSURE  METER,  TYPE  DW-48,  WITH  COVER  CLOSED,  SET  FOR 
READING  4N  BRIGHT  LIGHT. 


577B12 


G-E  EXPOSURE  METER,  TYPE  DW-48,  WITHOUT  HOOD,  READY  FOR 
USE  IN  DIM  LIGHT.   INCIDENT-LIGHT  METHOD  BEING  USED- 


18 


"INKIES"  FOR 

at  M 

• 

•  Here's  a  shot  of  one  of  the  sets  in  M-G-M's  new 
picture,  "Blossoms  in  the  Dust,"  showing  how 
M-G-M  shoots  Technicolor  with  black-and-white 
techniques  for  sparkling  new  effects, 
using  G-E  MAZDA  lamps  in  inkies. 

This  combination  provides  great 
flexibility  and  extreme  compactness; 
helps  them  paint  with  light  more 
effectively  to  create  the  results  they 
want;  helps  them  take  advantage  of 
Technicolor's  full  color  and  bright- 
ness  range;    makes    it    easier   for 


TECHNICOLOR 
-G-M 

them  to  use  a  multitude  of  light  sources  in 

limited  space. 

With  the  many  G-E  MAZDA  lamps  for  Color 
Photography  and  proper  filters, 
the  color  temperature  of  the  light 
can  be  matched  right  to  your  needs 
for  better  pictures. 

These  are  only  a  few  of  the  many 
advantages  which  G-E  MAZDA 
lamps  offer  you.  Are  you  familiar 
with  all  their  possibilities  for  better 
photography? 


GENERAL  (g§J  ELECTRIC 

MAZDA  LAMPS 


International  Photographer  for  July,  1941 


19 


l6MM.  dcpARTMEINT 


What   Shouldn't  I  Do? — III 

Perhaps  our  article  this  month  could 
have  more  properly  been  titled  A  DIS- 
CUSSION ON  FINDERS,  but  the  fact  still 
remains:  DON'T  TAKE  YOUR  FINDERS 
FOR  GRANTED. 

So  basically  simple  in  its  concept,  yet  a 
source  of  trouble  to  many  because  it  is  so 
simple,  and  often  totally  ignored  because 
it  has  no  direct  mechanical  connection  with 
the  actual  process  of  the  exposure  of  the 
film.  We  have  seen  pictures  that  were 
perfect  from  every  technical  standpoint, 
beautifully  lighted,  and  interesting  in  their 
content,  yet  completely  ruined  because  that 
seemingly  unimportant  little  gadget,  the 
finder,  was  not  given  its  due  consideration 
after  all  the  "important"  problems  had 
been  met  and  solved.  Pictures  that  result 
from  this  sort  of  an  attitude  can  be  com- 
pared to  the  appearance  a  man  will  pre- 
sent who  is  most  immaculate  and  impec- 
cable in  his  dress,  has  bought  the  best  in 
clothes,  is  careful  about  the  color  match 
of  the  entire  ensemble,  and  has  spent  the 
necessary  amount  of  time  in  their  arrange- 
ment; but  because  a  necktie  is  an  acces- 
sory serving  no  specific  purpose  will  grab 
any  old  piece  of  cloth  that  can  be  properly 
identified  by  that  name,  tie  the  thing  in 
six  seconds  flat,  and  breeze  out  of  the 
place  with  the  rear  length  seven  inches 
longer  than  the  front,  and  with  the  knot 
two  inches  below  the  collar,  and  over  to 
one  side  at  that.  Otherwise  he  is  very  well 
dressed! 

Specifically,  an  uncorrected  finder  will 
result  in  pictures  that  are  too  far  over  to 
one  side — when  the  scene  was  viewed  di- 
rectly in  the  center  while  being  photo- 
graphed— or  with  the  desired  center  too 
high  on  the  screen,  if  the  finder  is  not  in 
the  same  horizontal  plane  with  the  lens; 
or  we  may  find  ourselves  with  a  picture 
taking  in  much  more — or  much  less — than 
we  "thought"  we  were  getting,  depending 
upon  the  individual  finder  and  camera,  and 
how  the  camera  happened  to  have  been  set 
before  the  "mistake"  was  made. 

To  begin  with,  every  lens  used  must 
have  a  finder  or  finder  adjustment  that  is 
matched  to  it,  and  to  it  alone.  Every  lens 
of  definite  focal  length  has  a  definite  angle 
of  view,  which  in  turn  determines  the  exact 
area  that  will  be  included  in  a  scene  a 
given  distance  from  the  camera.  To  be  of 
any  value,  a  finder  must  have  some  means 
of  varying  its  angle  of  view  so  that  it  will 
correspond  exactly  to  that  of  the  lens.  This 
can  be  accomplished  by  any  one  of  sev- 
eral different  ways,  or  by  a  combination 
of  two.  In  its  simplest  form,  the  finder  will 
consist  of  a  concave  lens,  used  as  an  ob- 
jective, ground  to  have  an  angle  of  accept- 


ance to  correspond  with  that  of  the  widest 
angle  lens  used,  and  an  eyepiece  that  is 
merely  a  "peephole"  so  aligned  and  spaced 
from  the  objective  as  to  insure  the  correct 
distance  of  the  eye  to  the  objective  to  give 
the  correct  angle  of  acceptance.  Finders 
of  this  type  generally  have  markings  on 
the  objective  corresponding  to  "correct" 
fields  for  lenses  of  narrower  angles  I  long- 
er focal  lengths ) . 

Another  type  of  finder,  such  as  is  used 
on  the  Bell  and  Howell  16  mm.  cameras 
utilizes  lenses  for  both  the  objectives  and 
eyepieces,  with  a  series  of  mattes  of  vary- 
ing sizes  built  into  the  assembly.  These 
mattes  will  shut  out  all  but  the  actual  angle 
included  by  the  lens  for  which  it  is  de- 
signed. Still  another  type  is  one  having  a 
convex  objective  lens  focusing  an  image 
onto  a  ground  glass,  and  the  image  thus 
formed  being  the  picture  corresponding  to 
the  image  in  the  camera.  Mattes,  calibrated 
to  include  only  the  area  taken  in  by  the 
photographic  lens,  are  used  in  front  of  the 
ground  glass.  While  this  is  by  far  the  most 
satisfactory,  being  used  on  the  professional 
cameras,  it  is  the  least  used  in  the  amateur 
field,  due  to  the  cost,  and  the  fact  that  it 
cannot  easilv  be  incorporated  as  an  integ- 
ral part  of  the  whole  camera. 

Because  of  the  impracticality  of  the  lat- 
ter— for  general  amateur  use — we  find  the 
field  limited  to  the  use  of  the  former  two. 
The  greatest  shortcoming  of  the  first  type 
— the  one  using  the  objective  with  the 
markings  and  the  "peephole"  eyepiece — is 
to  be  found  in  the  difficulty  of  placing  the 
desired  action  within  the  confines  of  the 
correct  markings  without  confusion;  more 
often  than  not  the  action  or  scene,  espe- 
cially under  stress  of  time,  is  placed  in 
the  wrong  area;  frequently  they  are  merely 
used  as  "guides"!  Any  slight  discrepancy 
in  the  alignment  of  these  units  will  result 
in  grave  error  of  placement.  Serious  com- 
position becomes  a  difficult  problem  be- 
cause of  the  resulting  confusion,  and  there 
is  a  tendency  toward  vagueness. 

Innate  in  all  finders  is  the  problem  of 
PARALLAX,  and  before  any  serious  work 
is  contemplated  this  must  be  met  and 
solved,  especially  for  close-up  work,  as 
the  closer  the  camera  is  working  to  the 
subject,  the  greater  the  problem.  Parallax 
can  best  be  explained  as  the  inability  of 
two  lenses — working  side  by  side — to  take 
in  the  same  identical  view  by  virtue  of 
the  fact  that  because  one  lens  is  to  one 
side  of  another  it  will  show  a  view  that  is 
a  little  to  one  side  of  the  view  of  the  lens 
under  consideration.  AND  BEFORE  BOTH 
OF  THESE  LENSES  CAN  TAKE  IN  THE 
SAME  IDENTICAL  VIEW  ONE  OF 
THEM  WILL  HAVE  TO  BE  TURNED 
SLICHTLY  TOWARD  THE  OBJECT 
WHICH  THE  OTHER  IS  FACINC.   This, 


simply,  is  the  basis  for  the  correction  of 
parallax.  Speaking  specifically,  if  the  lens 
under  consideration  is  the  photographic 
lens  of  the  camera,  then  the  lens  of  the 
finder  is  the  one  which  will  have  to  be 
turned  so  as  to  be  pointing  to  exactly  the 
same  area  which  the  camera  lens  is 
focused  upon.  It  is  obvious  that  the  closer 
the  object  is  to  the  camera,  the  greater  will 
be  the  discrepancy,  and  the  greater  will 
be  the  necessary  correction — or  turning — 
of  the  finder  to  be  pointing  to  the  image 
focused  upon  the  film  in  the  camera.  It 
is  the  failure  to  understand  this  point  that 
is  responsible  for  the  many  pictures,  close- 
ups  especially,  that  result  with  the  object 
either  to  one  side  of  the  screen,  or  with 
the  top  of  the  head  cut  off,  depending  upon 
whether  the  finder  is  beside  the  lens  or 
above   the   lens. 

In  professional  cameras,  extensive  pro- 
visions have  been  made  for  the  correction 
of  parallax,  a  system  having  been  devised 
whereby  the  adjustment  is  made  auto- 
matically as  the  lens  is  set  for  any  given 
distance;  correction  is  also  introduced  for 
different  lenses  of  varying  focal  lengths. 
However,  to  the  best  of  our  knowledge,  the 
serious  shortcoming  of  a  finder  being 
built  into  the  camera  with  no  adjustable 
compensation  is  a  common  practice  in  the 
manufacture  of  amateur  motion  picture 
cameras.  And  at  the  present  time  about 
the  only  thing  one  can  do  with  this  prob- 
lem is  to  make  tests  to  determine  just  how 
much  the  finder  must  be  corrected  for  any 
given  distance,  and  then  compensate  for 
this  when  shooting.  If  the  finder  is  to  one 
side  of  the  lens,  then  compensation  is 
effected  by  turning  the  camera  to  the  left 
by  the  amount  found  necessary  by  experi- 
ment; if  it  is  above  the  lens,  then  the  cam- 
era must  be  tilted  up  by  the  predetermined 
amount. 

If  it  is  possible  to  place  a  ground  glass 
in  the  photographic  aperture  I  a  thin  piece 
of  ordinary  tissue  will  do)  and  the  image 
viewed  in  this  manner,  the  camera  can  be 
placed  on  a  tripod  and  the  scene  or  ob- 
ject viewed  through  the  finder,  noting  the 
necessary  correction  required  in  the  finder 
to  bring  the  image  in  its  proper  and  de- 
sired position  on  the  screen.  It  is  important 
to  remember  that  the  required  compensa- 
tion will  VARY  with  the  distance  of  the 
object  from  the  lens  of  the  camera. 

The  ideal  solution  to  the  finder  prob- 
lem, of  course,  is  to  employ  one  adjust- 
able for  parallax,  but  until  the  time  comes 
when  provisions  have  been  made  for  them 
on  amateur  movie  cameras,  it  will  be  ne- 
cessary for  us  to  give  our  present  finders 
the  attention  outlined,  if  we  will  have  our 
well  dressed  man  appearing  with  his  neck- 
tie carefully  chosen,  meticulously  tied,  and 
in  place. 


20 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


T  €  L  E  V I S 


By  Duster  Evans 

In  the  eyes  of  the  Television  world,  the 
month  of  July  can  rightfully  boast  of  two 
famous  days — July  4,  and  now,  July  1! 

Both  days,  too,  have  much  in  common. 

Just  as  July  4  marked  the  real  beginning 
of  a  great  and  prosperous  nation,  so  should 
July  1  of  this  year,  long  be  remembered 
as  marking  the  real  beginning  of  a  great 
and  prosperous  new  industry.  "On  this 
day,"  future  records  will  read,  "Commer- 
cial Television  made  its  debut  as  author- 
ized by  the  Federal  Communicaitons  Com- 
mission." 

The  exciting  fact,  today,  is  that  Tele- 
vision, like  its  bigger  brother,  Radio,  can 
:now  sell  programs  to  sponsors.  And  those 
iwho  should  know  say  that  this  will  really 
'set  the  Television  ball  to  rolling.  It's  pret- 
ty hard  not  to  agree,  looking  back  at  Ra- 
dio's spectacular  history,  and  the  important 
part  played  in  its  development  by  the  com- 
mercially sponsored  program. 

So  an  amazing  new  industry  promises 
to  get  under  way,  right  in  the  midst  of 
today's  great  industrial  activity.  And  yet, 
|  a  few  generations  ago,  the  idea  of  being 
able  to  send  a  picture  invisibly  through  the 
'air  would  have  been  regarded  as  one  of 
the  wildest  and  most  fantastic  dreams  of 
the  Jules  Verne  variety. 

But  science  today  has  no  respect  for  the 
"fantastic  dreams"  of  yesterday.  Not  only 
has  it  succeeded  in  sending  pictures 
through  the  air  by  means  of  Television,  but 
these  pictures  move!  They  show  life  .  .  . 
action!  But  this  achievement  was  not 
enough.  Successful  experiments  have  been 
carried  out,  transmitting  Television  pic- 
tures in  natural  color.  Television's  silvery 
'screen  is  being  transformed  into  all  of  the 
colorful  hues  of  the  rainbow.  Before  long, 
'Color  Television  may  be  available  to  the 
public. 

Yes,  one  can  understand  why  Television 
has  been  called  twentieth  century  magic  at 
,  its  best. 

The  vast  majority  of  American  people, 
however,  have  yet  to  witness  their  first 
Television  performance.  Certainly,  they 
have  a  treat  in  store.  In  fact,  let's  sit  in 
on  a  program! 

The  lights  in  the  room  are  lowered.  A 
test  pattern  has  already  appeared  on  the 
screen  of  our  receiver,  enabling  us  to  ad- 
just the  controls  for  proper  focusing  and 
brilliancy. 

Strains  of  martial  music  suddenly  crash 

from   the   receiver,   and   on   the  screen  we 

i  see  the  title  of  a  news   reel.    Quickly  we 

lose  ourselves  in  interest  as  history-in-the- 

making  parades  before  us.    It  is  as  though 


our  neighborhood  theatre  has  suddenly 
been  transported  to  us,  here  within  the 
comforts  of  our  home.  As  the  last  scene 
fades,  the  announcer  appears  to  tell  us 
that  a  studio  play  will  follow. 

We  are  agreeably  surprised  at  the  many 
clever  sight  and  sound  effects  used,  and 
soon  become  engrossed  in  a  well-acted 
mystery  plot.  Lighter  entertainment  then 
flashes  before  us  in  the  form  of  an  ani- 
mated  cartoon. 

All  of  the  pictures  have  been  clear  and 
flickerless,  and  the  accompanying  sound 
has  amazed  us  with  its  startling  realistic 
tone.  For  Television  is  now  profiting  from 
Radio's  great  new  development  known  as 
Frequency  Modulation.  The  Television  set 
owner  not  only  enjoys  sharp,  brilliant  pic- 
tures, but  he  is  also  scheduled  to  receive 
the  very  finest  in  the  way  of  sound  repro- 
duction. 

Probably  the  biggest  thrill  of  Television 
is  that  it  enables  us  to  see  things  as  they 
are  happening.  For  instance,  owners  of 
Television  receivers  served  by  the  NBC 
station  in  New  York  City  have  partici- 
pated in  a  wide  variety  of  interesting 
events.  Their  receivers  have  brought  them 
numerous  programs  and  scenes  from  the 
former  New  York  World's  Fair.  They  have 
also  seen  an  eclipse  of  the  sun  .  .  .  the 
impressive  ceremonies  of  the  Court  of 
Peace  on  Pan-American  Day  ...  a  parade 
of  the  new  mechanized  U.  S.  Army  units 
.  .  .  the  annual  Fifth  Avenue  display  of 
fashions  on  Easter  Sunday  ...  a  view 
of  New  York  City  from  a  skyliner  .  .  . 
the  arrival  and  take-off  of  the  great  trans- 
Atlantic  Clipper  .  .  .  fire-fighters  in  ac- 
tion, etc. 

Sport  enthusiasts,  too,  have  had  plenty 
of  thrills  via  Television.  They  have  wit- 
nessed a  track  meet  where  nine  world  rec- 
ords were  broken.  They  have  attended 
numerous  colleges  and  professional  base- 
ball games.  Football  fans  have  also  had 
more  than  their  share  of  excitement.  Ten- 
nis, boxing,  the  six-day  bicycle  races,  fenc- 
ing, basketball  and  ice  hockey  have  all  con- 
tributed to  many  interesting  Television 
programs. 

The  movie-lover,  also,  has  been  thrilled 
at  the  impressive  array  of  educational  tra- 
vel and  feature  films  that  have  been  "tele- 
vised." Then  there  have  been  grand  opera, 
variety  vaudeville  shows,  drama,  regularly- 
scheduled  news  programs,  spelling  bees, 
the  building  and  flying  of  model  aero- 
planes, cooking  demonstrations,  travel  lec- 
tures and  movies  for  arm-chair  adventur- 
ers, and  other  interesting  events. 

Certainly  with  all  of  this  having  occurred 


International  Photographer  for  July,  1941 


within  one  brief  year  of  "Experimental 
Television" — what  may  we  look  forward  to, 
now  that  Television  has  become  commer- 
cialized? 

It  seems  certain  the  American  family  is 
going  to  find  Television  will  provide  the 
source  for  a  new  "high"  in  home  enter- 
tainment and  interest.  It  seems  certain,  too, 
that  Television  before  very  long  will  start 
exerting  a  real  effect  in  such  fields  as  mer- 
chandising, education,  aviation,  military 
defense  and  law  enforcement. 

But  most  important,  to  ambitious  young 
men  today,  the  growth  of  Television  prom- 
ises to  open  up  a  bright  new  field  of  op- 
portunity, and  in  work  that  is  interesting 
to  the  point  of  fascination.  Any  young 
man  seeking  to  make  the  most  of  his  years 
ahead  may  well  owe  it  to  himself  to  fully 
investigate  the  possibilities  ahead  of  this 
amazing  new  industry.  Likewise,  he  may 
do  well  to  consider  how  he  can  prepare 
to  be  ready  for  the  start  he  needs. 

Any  of  our  readers  who  are  interested 
in  entering  the  Television,  Radio,  and 
Sound  Motion  Picture  field  may  secure  ad- 
ditional details  by  addressing  the  writer  of 
this  article,  care  of  International  Pho- 
tographer. 

Posthumous   Honor  to 
Herman  A.  De  Vry 

The  innumerable  friends  of  the  late  Her- 
man A.  DeVry,  pioneer  motion  picture 
projector  inventor,  engineer  and  founder 
of  the  DeVry  Corporation,  will  be  delight- 
ed to  learn  that  on  June  2,  1941,  a  posthu- 
mous honor  in  the  form  of  a  Doctor  of 
Science  Degree  was  conferred  upon  him  by 
Lincoln  Memorial  University,  Harrogate, 
Tennessee. 

PARADISE   SOUTH 

(Continued  from  page  11) 

color  with  the  blooms  in  this  paradise  of 
abundance.  Then  the  boatman  pushed  his 
craft  silently,  smoothly,  through  an  arch 
of  high  poplars  with  their  branches  grasp- 
ing together  to  form  the  vaulted  arc  of  a 
cathedral  arch  with  its  myriad  glints  of 
dancing  sunspots  breaking  through  flut- 
tering leaves,  like  the  blinking  of  tiny 
frosted  electric  lights.  On  we  floated  to 
an  altar  of  Nature's  grandeur,  while  the 
slight  slow  wind  played  a  benediction  on 
the  low  flute  reeds  as  we  slowly  approached 
an  "island"  covered  with  huge  red  roses. 
Truly,  this  is  Paradise  South,  where  the 
bitter  struggle  of  life  and  scorching  mem- 
ories can  be  laid  aside  while  the  sweetness 
of  romance  beckons  and  holds  captive. 


21 


JRADEW 


FILMO  SILENT  PROJECTORS 
NOW  RUN  SOUND  FILMS 

Bell  &  Howell  announces  that  sound  films 
now  may  be  run  on  all  new  16  mm.  Filmo 
silent  projectors.  The  sound,  of  course, 
will  not  be  reproduced,  but  there  is  now 
open  to  owners  of  this  popular  projector  a 
vast  new  field  of  entertainment  and  educa- 
tional films.  No  longer,  says  B&H,  need 
the  owner  of  silent  equipment  be  prevented 
from  enjoying  interesting  and  instructive 
films  available  only  in  sound  versions. 

New  Recreational  and  Educational  Film 
Catalogs,  listing  and  describing  both  sound 
and  silent  films,  have  just  been  released  by 
the  Filmosound  Library. 

For  further  particulars  on  both  projec- 
tors and  films,  write  to  the  Bell  &  Howell 
Company,  1801  Larchmont  Avenue,  Chi- 
cago, Illinois. 

NEW  BURKE  &  JAMES  BOOKLET 

The  enlarging  lens,  substitution  focus- 
ing, correct  exposure  time,  tone  balance, 
photo  montage  and  formulae  for  enlarg- 
ing, etc.,  are  a  few  of  the  interesting  topics 
in  a  new  booklet  offered  by  Burke  & 
James.  Readers  of  International  Photogra- 
pher may  secure  a  free  copy  by  writing  S. 
Drucker.  Burke  &  James,  Inc.,  223  W.  Mad- 
ison St.,  Chicago,  Illinois. 

AGFA  ANSCO  ANNOUNCES  FINEX 

After  four  years  of  investigation  into  the 
problems  of  fine-grain  development,  the 
Agfa  Ansco  Research  Laboratories  have 
perfected  Finex,  a  new  fine-grain  devel- 
oper. Designed  especially  for  the  critical 
and  experienced  worker,  Agfa  Finex  offers 
the  following  advantages:  Extreme  fine 
grain,  no  loss  in  inherent  film  speed,  con- 
venient ready-to-use  liquid  form,  long  use- 
ful  life   with   tested   replenishment  system. 

The  exceptional  results  obtainable  with 
Finex  Developer  are  due  to  the  use  of  an 
entirely  new  developing  agent  which  ex- 
tends developing  action  deeper  into  the 
emulsion  layer  and  reduces  the  clustering 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and  Black  and   White  Printers,  Re- 
winds. 
Special    Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 


Cable    Addr«n«: 


•CINEBARSAM' 


of  silver  particles,  thereby  resulting  in 
smoother,  finer  grain  with  no  loss  of  in- 
herent film  speed. 

The  complete  unit  containing  16  ounces 
of  Finex  developer,  two  eight  ounce  bottles 
of  replenisher,  a  graduated  cup  for  meas- 
uring and  24  page  booklet  on  fine  grain 
processing  are  available  through  regular 
dealers  at  $2.75. 

AGFA  ANSCO'S  NEW  BOOKLET 

Agfa  Ansco's  latest  publication — an  80- 
page,  illustrated  booklet  titled  "Choosing 
Film  for  Your  Camera" — has  just  been  is- 
sued and  is  now  being  distributed  by  pho- 
tographic dealers  throughout  the  country. 

"Choosing  Film  for  Your  Camera"  is 
available  at  regular  photographic  dealers 
at  25c  per  copy,  or  may  be  obtained  direct 
from  Agfa  Ansco,  Binghamton,  New  York. 

AGFA  ANSCO  IMPROVES  SERVICE 
TO  CENTRAL  STATES 

In  order  to  supply  photographers  in  the 
central  states  with  better  and  more  rapid 
service  on  its  products.  Agfa  Ansco  is  re- 
organizing the  sales  territory  which  has 
been  served  by  its  Kansas  City  branch. 
This  move  will  permit  faster  delivery  of 
Agfa  Ansco  products  to  customers  in  New 
Mexico,  Oklahoma  and  Arkansas  by  sup- 
plying them  through  the  Agfa  Ansco  branch 
in  Dallas,  Texas.  Users  of  Agfa  Ansco 
materials  living  in  Colorado,  Nebraska, 
Wyoming,  Kansas  and  Missouri  will  ex- 
perience improved  service,  as  they  will  be 
supplied  through  the  Agfa  Ansco  branch 
in  Chicago,  Illinois.  The  Agfa  Ansco 
branch  office  in  Kansas  City  is  to  be  dis- 
continued. 

Concurrent  with  this  shift  in  distribu- 
tion, Agfa  Ansco  is  raising  its  sub-branch 
at  Dallas  to  full  branch  status  and  moving 
it  from  the  present  address  at  2025  Com- 
merce Street  to  new  and  larger  quarters 
at  425  South  Field  Street. 

B&H  REELS  IN  COLOR 

The  trend  to  color,  so  dominant  among 
amateur  photographers  who  make  their 
own  movies,  is  reflected  also  in  the  newer 
offerings  of  film  rental  libraries.  Especi- 
ally those  catering  to  the  growing  section 
of  movie  makers  who  supplement  their 
own  films  with  those  rented  from  profes- 
sional sources,  are  going  in  for  color. 

A  new  supplement  to  the  FILMOSOUND 
Library  Catalog  brings  the  total  of  titles 
included  under  the  "OUR  COLORFUL 
WORLD"  series  to  thirty-seven  single  reels, 
for  the  most  part  silent,  dealing  with  vari- 
ous geographical  regions.  The  list  includes 
a  series  of  five  on  National  Barks,  one  on 


Indian  life  today,  and  one  on  Porto  Rico. 

There  is  also  a  series  of  nine  new  reels 
on  wild  life,  with  several  more  in  prepara- 
tion. These  deal  mostly  with  birds,  each 
reel  covering  either  a  single  species,  such 
as  the  Golden  Eagle,  White  Pelican,  Hum- 
ming Bird,  etc.  ...  or  a  habitat  group, 
such  as  the  birds  grouped  respectively,  at 
an  inland  lake,  a  mountain  meadow,  and 
the  ocean  shore.  Earlier  listings  include 
some  twenty  reels  on  travels  in  Mexico, 
Canada,  Central  America,  Africa  and  the 
South  Seas. 

A  total  of  twenty-seven  cartoons  in  nat- 
ural color  is  also  offered,  as  well  as  other 
subjects  as  far  apart  as  agriculture  and 
Shakespeare.  The  new  single-reel  cinecolor 
version  of  MACBETH  has  been  very  favor- 
ably received  at  visual  instruction  confer- 
ences where  it  has  been  previewed.  Prac- 
tically all  color  films  rent  for  from  $2.50 
to  $3.00  a  reel. 

GRAPHIC  PAN  TILT 
TRIPOD  HEAD 

Because  the  combined  camera  base  and 
revolving-tilting  tripod  head  built  integ- 
rally with  the  Graphic  View  Camera  was 
received  with  such  favor  by  the  photogra- 
phic public,  the  Folmer  Graflex  Corp. 
is  now  marketing  a  similar  tripod  head  for 
use  with  any  camera  ordinarily  mounted 
on  a  portable,  folding  tripod.  This  new 
product,  known  as  the  Graphic  Pan-Tilt 
Tripod  Head,  is  light,  solid  and  flexible. 
It  tilts  100°  forward  or  25°  backward, 
and  rotates  a  full  360°. 

This  new  unit  will  fit  into  the  Speed  Gra- 
phic Special  Carrying  Cases  ( which  accept 
a  tripod ) ,  the  Crown  View  Camera  Case, 
and  the  new  Speed  Graphic  DeLuxe  Cases. 

Both  the  rotating  and  tilting  movements 
are  controlled  and  locked  by  a  single 
handle  with  a  black,  extruded  plastic  grip. 
The  head  is  so  designed  that  it  may  be  half- 
locked  with  sufficient  looseness  to  permit 
minor  adjustments  of  the  camera  angle, 
and  a  slight  further  turn  completes  the  J 
locking  without  any  change  in  the  cam- 
era's position. 

The  adjustable  camera-clamp  screw,  pio- 
neered by  Graflex  many  years  ago,  is 
further  improved  by  larger  grips  and  by 
the  addition  of  a  spring  to  keep  the  clamp- 
screw  in  the  up  position  so  that  insertion 
of  the  screw  in  the  camera's  tripod  socket 
is  greatly  facilitated. 

The  top  of  the  Graphic  Pan-Tilt  Tripod 
Head  is  2%  inches  square  and  the  circular 
base  has  a  diameter  of  3Y>  inches,  these 
broad  surfaces  furnishing  great  stability 
and   solidity   when   a   firm   tripod   is  used. 


22 


CAMERAMEN  ON  WILD 
GOOSE  CHASE 

It  may  be  a  wild  goose  chase  and  it  may 
■not. 

At  any  rate,  20th  Century-Fox  sent  a 
special  camera  crew  of  five  aloft  in  a  char- 
tered plane  to  photograph  several  flocks  of 
wild  geese  flying  in  their  typical  wedge  for- 
mation. The  shots  are  needed  in  the  picturi- 
zation  of  Stewart  Edward  Whites  novel, 
"Wild  Geese  Calling,"  which  has  just  gone 
before  the  cameras  at  the  studio  with 
Henry  Fonda  and  Joan  Bennett  in  the  ma- 
I jor  roles. 

The  plane  is  piloted  by  Marion  McKeen, 
a  veteran  speed,  stunt  and  commercial 
pilot.  He  will  fly  the  ship  first  to  Oregon 
and  if  the  necessary  footage  cannot  be  ob- 
tained there  the  party  will  be  ferried  to 
Utah  for  a  further  attempt. 

The  major  problem,  it  was  pointed  out 
by  both  McKenn  and  Leon  Shamroy,  who 
heads  the  camera  crew,  will  be  to  approach 
the  geese  at  sufficiently  close  range  to  get 
some  good  shots  and  yet  not  frighten  the 
birds  so  that  they  break  formation  and 
scatter. 

"But  any  way  you  look  at  it,"  said 
Shamroy,  "it  will  be  a  wild  goose  chase." 

RKO  Completes  First  Bloek-of-Five 

With  its  first  block-of-five  for  1941-42 
ready  for  preview  screenings  for  delegates 
now  attending  RKO  Radio's  Tenth  Annual 
!  Sales  Convention  in  New  York  City,  the 
studio  is  working  well  in  advance  of  sche- 
dule in  preparation  for  market  showings 
and  sales  under  the  terms  of  the  new  con- 
sent decree. 

Included  in  the  quintet  are  some  of  the 
outstanding  attractions  of  the  new  Holly- 
wood crop.  Among  them  is  "The  Devil  and 
Daniel  Webster,"  "Father  Takes  a  Wife," 
!  "Before  the  Fact,"  and  "Parachute  Battal- 
ion," depicting  the  newest  and  most  spec- 
tacular arm  of  Uncle  Sam's  defense  forces, 
the  parachute  infantry.  Public  interest  in 
this  picture  has  been  tremendously  stimu- 
lated by  the  sensational  accident  at  San 
Diego  which  recently  grabbed  off  the  head- 
lines, when  a  chute's  shroud  lines  became 
entangled  in  the  fuselage  of  the  plane  and 
!  a  breath-taking  rescue  of  the  dangling  para- 
chutist was  effected.  An  almost  identical 
episode  was  filmed  as  one  of  the  thrilling 
sequences  in  "Parachute  Battalion,"  which 
oddly  enough  was  completed  long  before 
the  San  Diego  episode  occurred. 

Director  Mayo  Offers  Services 
to  Uncle  Sam 

Although  he  is  at  the  top  of  his  Holly- 
wood career,  Director  Archie  Mayo  ex- 
pects to  abandon  the  film  town  "for  the 
duration"  as  soon  as  he  is  finished  with 
his  current  20th  Century-Fox  assignment, 
"Charley's  Aunt,"  in  which  he  is  directing 
Jack  Benny  and  Kay  Francis. 

Mayo  has  already  offered  his  services 
!  to  the  U.  S.  Army  to  head  entertainment 
units,  a  post  which  he  is  fully  equipped  to 
handle. 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE  IN   EVERY  DETAIL 

Immediate  Delivery 


HOLLYWOOD   USERS    CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

•  SENSITESTER— For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


Cable  address:  ARTREEVES 
1515  Cahuenga  Blvd.  Hollywood.  California,  U.  S.  A. 


for  SPEED  GRAPHIC 
OWNERS  only! 

supIr 
speedflash  shots 

Are  Easy  With 

SISTOGUN! 

Here's  an  instrument  designed  by  new*  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3V4 x  ^lA  and  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at  1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  jor  those  who  want  real 
action  FLASH  PICTURES— at  SUPER  SPEEDS ! 
Price  $12.00. 

THE  KALART  COMPANY  INC. 


G0ERZ 

KINO-HYPAR 
LENSES 

I       1:2.7  and  f:3 

I 
I 


for     regular     and     color 

movies  of  surprising 

qualify.  High   chromatic 

correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur   and 

Professional  Movie  Cameras. 


Depl.  1-7 


619    TAFT    BLDC. 


HOLLYWOOD,   CALIF. 


KALART 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


I 

COERZ    Parallax-Free   FOCUSER    \ 
and    FIELD    FINDER    CONTROL    \ 

for  Filmo   121    and  Simplex-Pockette,   no   more 
off-center  pictures,  magnifies  4  and  8x. 
For   Detailed   Information    Address 
Dept.  IP  7 

•    C.  P.  Coerz  American  Optical  Co.    j 

(  317   East  34th  St.,   New  York  t 

American    Lens    Makers    Since    1899 


International  Photographer  for  July,  1941 


23 


P  fl  T  €  n  T 


By  ROBERT  W.  FULWIDER 

Patent  Attorney,  Los  Angeles 


No.  2,238,497 — Sound  Camera.    William 
E.  Merriman,  assignor  to  Eastman  Kodak 
Company.     Appln.    Oct.    14,    1939.     15 
claims. 
A  sound  camera  in  which  the  sound  drum 
shaft  is  first  connected  to  the  drive  means 
to  bring  it  up  to  speed,  and  then  discon- 
necting   the    shaft   and    drive   means,    and 
connecting    the    drive    and    film    feeding 
means. 

No.    2,238,547  -  -  Photographic    Devel- 
oper.    William    H.    Wood,    assignor    to 
Harris-Seybold-Potter  Company.  Appln. 
June  6,  1939.    3  claims. 
A  process  of  developing  photographic  im- 
ages and  hardening  the  gelatinous  surfaces 
with  a  silver  halide  developer  in  the  pres- 
ence  of  a   potassium   sale  embodying   po- 
tassium pyrophosphate. 
No.    2,238,629  --  Method    for    Stereo- 
scopic Scanning  of  Pictures.  Jacob  u. 
Deninson,  New  York.    Appln.  April  24, 
1937.   2  claims. 
A  method  of  producing  stereoscopic  pro- 
jection of  motion  pictures  by  the  use  of  a 
single    film,    the    film    having    side-by-side 
pictures  which  are  alternately  projected. 
No.  2,238,733-35 — Recording  and  Repro- 
ducing  Sound.     Erik    Waldemar  Hulle- 
gard,    Stockholm,    Sweden,    assignor    to 
Radio  Corporation  of  America.    Appln. 
Mar.    17,   1938.     In   Sweden   March   23, 
1937.    4  claims. 
A  sound  record  of  the  photophonographic 
type    including    a    film    having    images    of 
opposite  half  cycles  of  sound  waves  there- 
on   in    different    colors,    and    an    opaque 
background  surrounding  said  wave  images. 
No.  2,238,947 — Sound  Recording  System. 
Oscar  A.  Ross,  New  York,  N.  Y.   Appln. 
July  15,  1937.   8  claims. 
A  method  of  sound  recording  in  which  a 
record     is    made    of    the    frequency    and 
amplitude    of    the    sound    waves    while    a 
second  record  is  made  of  their  amplitude 
only,    and    re-recording    the    sound    while 
varying    its    amplitude    by    means    of    the 
second  record. 

No.  2,238,996  —  Sound   Track.    Cleaner 
for    Motion    Picture    Film.     Roy   J. 
Fisher,  assignor  to  Harold  J.  Nagle,  Roy 
fislicr     and      Nelson     II.     Copp,     all     of 
Mochester,     N.     Y.,     as     joint     trustees. 
Appln.  Dec.   I.   L936.    7  claims. 
A    device    for    (leaning    a    film    while    the 
latter  is  in  motion,  and  comprising  a  pair 
ol     rotatably    mounted    cleaning    members 
bearing  against  the  film. 
\o.  2,239,380  — Slating  Device.    Daniel 
Hi  miii  Clark  and  Grover  Laube,  assign- 
ors    to     Twentieth     Century     box     Film 


Corporation.  Appln.  Jan.  16,  1940.  8 
claims. 
A  slating  device  for  motion  picture  cam- 
eras and  having  a  housing  adapted  to  be 
inserted  between  the  camera  and  its  maga- 
zine, with  a  compartment  in  the  housing 
to  receive  indicia,  and  means  to  project 
a  moving  image  of  the  indicia  on  the 
moving  film. 

No.    2,239,532  --  Film   Tempo    Punch. 
Royal   C.    McClay,   assignor   to    Warner 
Brothers  Pictures,  Inc.    Appln.  Oct.  24, 
1938.    15  claims. 
A    device    for    intermittently    feeding    film 
from  one  reel  to  another  and  punching  the 
film  while  it  is  at  rest. 
No.  2,239,698 — Photographic  Element. 
Burt    H.    Carroll,    assignor    to    Eastman 
Kodak   Co.    Appln.   Feb.   20,   1940.     In 
Great  Britain  March  9,  1939.  7  claims. 
A  film  having  a  base,  an  emulsion  sensi- 
tized to  green  light  with  a  sensitizing  dye, 
and  a  blue  sensitive  emulsion  containing  a 
dye  which  adsorbs  to  the  silver  halide  in 
the    layer    and    imparts    substantially    no 
extension  to  the  spectral  sensitivity  of  the 
layer. 

No.  2,239,699 — Prevention  of  Diffusion 
of  Sensitizing  Dyes.    Burt  H.  Carroll, 
assignor   to    Eastman   Kodak   Company. 
Appln.  Feb.  20,  1940.    In  Great  Britain 
March  9,  1939.    10  claims. 
A     photographic    silver     halide    emulsion 
sensitized    with    a    quaternary    ammonium 
salt    sensitizer    and    containing    a    perhalo- 
genate     salt     other     than     a     quarternary 
ammonium  perhalogenate. 
No.  2,240,131 — Arrangement  for  Secur- 
ing    Stereoscopic     Conematographic 
Projections.    Suzzane  Carre,   nee  Ber- 
ment,     France,    assignor    to     Societe     a 
Responsabilite   limitee  dite:   La  Cronos- 
tereoscopic.  Paris,  France.  Appln.  March 
18,   1938.     In   France  March   23,   1937. 
1  claim. 
A    device    for    obtaining   stereoscopic    pic- 
tures by   alternately   projecting   right    and 
left    images   through    a   screen    and   simul- 
taneously   moving   a   grid    back   and   forth 
between  the  screen  and  the  spectators. 
No.  2,240,398 — Cinematography.    Lionel 
Hubert  Huitt,  Rangoon,  Burma,  British 
India.    Appln.  April  21,  1939.    In  Great 
Britain  June  28,  1939.    16  claims. 
A    movable    screen    in    a    motion    picture 
camera,    the    screen     permitting     a     small 
sharp  image  to  be  formed,  with  increasing 
diffusion  away  from  the  sharp  image,  and 
movable  by  the  operator  of  (he  camera. 
No.  2,240,703  —  Projector  for  Stereo- 
scopic Pictures — Fritz  Kober.  assignor 


to  Zeiss  Ikon  Aktiengesellschaft,  Ger- 
many. Application  February  16,  1939. 
In  Germany,  Feb.  22,  1938.  4  claims. 
A  projector  for  stereoscopic  pictures  hav- 
ing a  polarizing  filter  over  each  half  of  ob- 
jective lens,  and  a  pair  of  prisms  to  de- 
flect the  differently  polarized  images  so 
they  are  superposed  on  the  screen. 

No.  2,240,844 — Picture  Projection.  Jere- 
miah F.  Goggin.  Moline,  111.,  and  Ray  E. 
Hall,  Davenport,  Iowa.  Application  May 
21,  1938.  3  claims. 
A    method    of    projecting    pictures    which 
uses    phosphorescent   screen   which    glows 
with   the   image   of  the   preceding   picture 
while  the   next   one   is   being   moved   into 
projecting  position. 

No.    2,240,728— Stereo    Camera.    Otto 
Vierling,    Dresden -Blasewitz,    and    Fritz 
Kober,   Dresden,  Germany,  assignors  to 
Zeiss   Ikon   Aktiengesellschaft,   Dresden, 
Germany.  Application  Nov.  17,  1938,  Se- 
rial No.  241,065.    In  Germany  Nov.  19, 
1937.   3  claims. 
A  stereoscopic   projector   using   polarizing 
filters  and  having  prisms  which  superpose 
the  images  on  the  screen  without  the  forma- 
tion of  secondary  images. 
No.  2,241,104 — Process  and  Apparatus 
for  the  Treatment  of  Photographic 
Coatings.     Lodewijk   Pieter    Frans   van 
der  Grinten,  Venlo,   Netherlands,  assig- 
nor to  Naamlooze  Vennootschap  Chem- 
ische  Fabriek  L.  van  der  Grinten,  Venlo, 
Netherlands.  Application  April  22,  1939. 
in  the  Netherlands,  Jan.   19,  1939.     25 
claims. 
A  method  of  developing  or  fixing  films  by 
the  "semi-wet"  process  in  which  the  film  is 
subjected   to    a   number   of  closely   spaced 
fine  sprays  of  treating  liquid. 
No.    2,241,124  —  Printing    Method    for 
Color  Photography.  Otto  C.  Gilmore, 
assignor  to  Cosmocolor  Corporation,  Jer- 
sey City,  N.  J.  Original  application  May 
25,   1939.    Divided  and  this  application 
Dec.  7,  1939.   5  claims. 
A  method  of  optically  printing  a  film  hav- 
ing two  smaller,  complete  images  of  differ- 
ent   color    values    in    a    single    frame,   the 
method   including   printing  one  set  of  im- 
ages on  one  side  of  duplitized  film  and  then 
reversing  the  images  of  the  other  set  and 
printing  on  the  other  side  of  the  film. 
No.   2,241,239 — Ultraviolet   Light  Fil- 
ter. Burt  H.  Carroll  and  Cyril  J.  Staud, 
assignors  to  Eastman  Kodak  Company, 
Rochester,   N.   Y.   Application    Jan.   19, 
1940.   In   Great  Britain,  Jan.   23,   1939. 
10  claims. 
A   film  affected  by  ultraviolet  light  which 
has  a  colloidal  material  which  acts  as  a  fil- 
ter on  the  film. 

No.  2,241,413  —  Photographic  Printing 
Process  and  Image  for  Use  Therein. 
A  method  of  printing  color  photographs 
in  which  there  are  at  least  two  color  value 
images,  one  of  the  images  being  a  com- 
posite double-colored  image. 
No.  2,241,519 — Photographic  Material. 
Louis  Pollak,  Altrincham.  Cheshire,  Eng- 


24 


land.  Application  May  20,  1937.  In  Great 
Britain,  May  23,  1936.  7  claims. 
<\  film  having  two  emulsions  sensitive  to 
different  parts  of  the  spectrum,  one  of  the 
emulsions  being  hardened  so  as  to  be  sub- 
stantially insoluble  in  warm  water,  and  the 
fpther  emulsion  being  soluble  in  warm 
water  and  forming  only  a  weak  image  after 
normal  exposure. 

No.  2,241,689 — Cinematographic  Appar- 
atus. Lloyed  E.   Whittaker,  assignor  to 
Technicolor  Motion  Picture  Corporation. 
Los  Angeles,  Calif.   Application  May  31, 
1939.  1  claim. 
A  drive  for  a   film  take-up  reel   in   which 
the  driving  force  applied  to  the  reel  is  pro- 
gressively increased  as  the  diameter  of  the 
roll  of  film  increases. 

No.  2,241,929  — Production  of  Motion 
Pictures  of  Three-Dimensional  Ani- 
mated Objects.  Albert  C.  Kendig,  Jr., 
Los    Angeles,    Calif.,    assignor    of    one- 
third  to  Fred  W.  Clampett,  Los  Angeles, 
Calif.,  and  one-third  to  Robert  E.  Clam- 
pett, Manhattan   Beach,  Calif.    Applica- 
tion March  23,  1939.    13  claims. 
A  method  of  producing  motion  pictures  in 
which  a  series  of  images  of  an   animated 
object  is  projected,  an   object  is  posed  so 
,that  its  shadow  registers  with  the  images, 
,and  the  object  is  photographed. 

[No.  2,242,567  —  Manufacture  of  Tran- 
slucent   Screens.    Bernard   M.    Bodde, 
Hollywood,   Calif.   Original   application, 
November    22,    1935.   Divided    and   this 
application  June  6,  1938.    7  claims. 
;The   method   of   making  a   sheet  of  cellu- 
lose ester  material  which  comprises  spray- 
ling  multiple  coats  of  a  solution  of  cellu- 
lose ester  material  upon  the  under  surface 
.of   a    substantially    horizontal    matrix,    al- 
lowing the  sheet  thus   formed  to  dry   and 
stripping  said  sheet  from  said  matrix. 

!No.  2,242,574 — Producing  Apparatus  for 
Sound  Picture  Films.  John  Eggert  and 
Hans  Friedrich   Nissen,  Germany,  assig- 
nors to  I.  G.  Farbenindustrie  Aktienge- 
sellschaft,     Frankfort-on-the-Main,     Ger- 
many.    Application    May    19,   1937.     In 
Germany  May  23,  1936.   3  claims. 
A  reproducer  for  sound  films,  having  op- 
tional paths,  one  for  a  film  reproduced  by 
the  copying  method,   and   the  other  for   a 
film  developed  by  the  reversal  process. 

No.  2,242,666— Camera.  Thomas  J.  Walsh, 
West  Hempstead,  N.  Y.,  assignor  to  Pat- 
rick Nardell,  Bronx  County,  N.  Y.,  and 
Joseph   Ladaga  and   William  L.   Morris, 
both  of  New  York,  N.  Y.,  jointly.   Appli- 
cation March  29,  1938.    10  claims. 
'  A   camera    having   a    stationary   long    shot 
lens    and    a    stationary   close-up   lens    with 
means  for  rendering  either  of  them  effec- 
tive and  the  other  ineffective,  and  intercon- 
nected   finder   lenses   which   correspond  to 
the  fields  of  the  objectives  and  are  rend- 
ered effective  and  ineffective  with  them. 

j  No.  2,242,747— Tripack  for  Producing 
Photographic  Pictures.  Walter  Frank- 
enburger,   Cuba,  Max  Herbst,  and   Her- 

International  Photographer  for  July,  1941 


maun  Schulz,  Germany,  assignor  to  Gen- 
eral  Aniline  &    Film   Corporation,   New 
York,  N.  Y.    Application  Jan.  11,  1939. 
In  Germany  Jan.  19,   1938.    7  claims. 
A  tripack  having  a  top   layer  sensitive  to 
red,  a  second  layer  sensitive  to  green,  and 
a  bottom  layer  sensitive  to  blue,  with  a  fil- 
ter between  the  second  and   bottom  layers 
which  absorbs  at   least  60%    of  the   light 
having  wave   length   5000°    A   and   a   still 
greater  percentage  of  light  of  longer  wave 
length. 


No.    2,243,047  —  Control    Method    and 
Mechanism  for  Photographic  Print- 
ers.  Warren  Dunham  Foster  and  Earle 
L.  Parrnelee.  deceased,  assignors  to  Kin- 
atome  Patents  Corporation,  Ridgewood, 
N.    J.    Application    Sept.    24,    1934.  28 
claims. 
A    continuous    printer    in    which    both    the 
light  emitted  by  a  printing  light,  and  the 
capacity   of  source   to   emit   light  may   be 
changed  to  modify  the  effectiveness  of  the 
light. 

No.    2,243,048  —  Control    Method    and 
Mechanism  for  Photographic  Print- 
ers.  Warren   Dunham   Foster  and   Earle 
L.  Parrnelee,  deceased,  assignors,  to  Kin- 
atome   Patents   Corporation,  Ridgewood, 
N.  J.  Original  application  Sept.  24,  1934. 
Divided   and   this  application   Sept.   24, 
1934.    19  claims. 
A    continuous    printer    in    which   the    light 
emitted    from    a   source   may    be    changed, 
and  the  speed  of  film  may  be  changed  to 
produce  changes  in  the  printed  density. 

No.  2,243,212 — Support  for  Motion  Pic- 
ture   Projection    Machines    or    the 
like  .Albert  Kindelmann  and  Claude  A. 
Soehl,    assignors    to    International    Pro- 
jector Corporation,  New  York.  Applica- 
tion April  29,  1937.  13  claims. 
A  pedestal  which  has  an  arm  supported  for 
vertical  tilting  movement  about  a  horizon- 
tal   axis,    and    a    screw    of    limited    length 
which    may   be   inserted   in   a    plurality   of 
positions  to  provide  adjustment  of  the  tilt- 
ing in  different  stages. 


Cartoon 
phoTqRAphy 

(Continued  from  page  10) 

our  cartoons  we  made  from  the  Technicolor 
positive  a  three  successive  frame  negative 
strip  by  rephotographing  each  frame 
through  the  three  color  separation  filters 
changed  by  hand  from  frame  to  frame.  A 
rather  laborious  and  tedious  procedure,  but 
nevertheless  successful. 

Black  and  white  positives  have  likewise 
been  copied  in  Technicolor  by  the  same 
process,  color  being  added  to  the  black  and 
white  picture  by  tinting  the  light  with  color 
filters. 

Many  cartoon  scenes  require  special  ef- 
fects in  the  way  of  double  or  multiple  ex- 
posures, which  presents  a  fascinating  prob- 
lem to  the  cameramen.  Inasmuch  as  each 
frame  is  accounted  for  in  the  timing  of  a 
cartoon  and  the  camera  is  equipped  with 
a  feeder  counter  and  kept  in  gear  at  all 
times  and  can  be  operated  forward  or  in 
reverse,  the  cameraman  can  wind  back  to 
any  particular  frame  and  make  what 
double  exposure  the  scene  requires.  In 
many  cases  for  special  effects  such  as  dou- 
ble exposures,  light  effects,  multiple  ex- 
posures, or  montages  the  film  has  been 
through  the  camera  as  many  as  ten  or 
twelve  times,  each  time  receiving  whatever 
exposure  is  required  before  the  film  is  fin- 
ally taken  out  of  the  camera  for  develop- 
ment. 

In  this  respect  animated  cartoon  pho- 
tography is  unique  in  that  all  these  effects, 
as  well  as  dissolves,  wipe  offs,  fades,  split 
screens,  etc.,  are  made  in  the  camera  at 
the  time  of  photography  and  not  added 
later  by  optical  printing  or  in  the  labor- 
atory. 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 


DAY- 


-PHONES- 


-NIGHT 


NEW  ADDRESS 

Hillside        a-jt-j  n    i  a  HEmpstead 

6373  De  Longpre  Ave. 

8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


25 


Exposure  Meter 


(Continued  from  page  18) 

reading.  Pictures  taken  without  a  reading 
of  this  type  expose  the  scene  just  about  as 
the  eye  sees  it,  and  many  times  the  result 
is  under-exposure  of  the  subject.  Hand 
measurement  is  also  a  useful  device  in 
taking  sport  pictures.  For  example,  if  you 
want  the  detail  of  a  skier  coming  over  an 
extremely  bright  foreground,  take  a  read- 
ing off  the  back  of  your  hand  held  in  the 
light  the  subject  will  appear  in.  The 
measurement  can  be  taken,  camera  ad- 
justed, and  proper  exposure  can  be 
obtained  when  the  subject  is  in  position. 
This  is  a  good  method  to  remember  for 
all  types  of  candid  shots,  too. 

For  indoor  work  there  are  two  methods 
of  measuring  light.  The  reflected  light 
method  can  be  used  with  brilliantly-lighted 
photoflood  scenes.  However,  the  reading 
should  be  taken  close  to  the  subject  to 
overcome  the  tendency  to  over-expose 
caused  bv  the  dark  background. 

The  incident  light  method  is  very 
accurate  and  convenient   in   taking  indoor 


pictures.  It  indicates  an  average  over-all 
exposure  and  the  best  results  are  obtained. 
Under  certain  specific  conditions  the  inci- 
dent light  method  will  give  the  better  color 
film  exposure.  Since  the  photoelectric  cell 
is  more  sensitive  to  the  blue  colors  than 
the  red  in  the  spectral  response  curve,  a 
more  accurate  exposure  can  be  obtained 
when  the  color  of  the  subject  does  not 
influence  the  meter.  In  the  case  of  a  flower, 
for  example,  a  reflected  light  measurement 
of  the  scene  would  cause  an  over-exposure 
of  the  flower  portion  because  the  exposure 
meter  attempts  to  balance  the  exposure  for 
the  dark  green  leaves  that  surround  the 
scene  plus  the  flower.  In  most  cases  the 
flower  is  the  main  part  of  interest,  and  the 
leaves  of  secondary  interest.  Therefore,  an 
exposure  obtained  from  a  reflected  light 
reading  will  cause  the  flower  to  photo- 
graph lighter  than  it  normally  should,  and 
will  cause  the  dark  green  leaves  to  photo- 
graph a  lighter  green  than  they  are. 
Therefore,  we  can  obtain  a  truer  photo- 
graph by  measuring  incident  light. 

With  the  directional  hood  removed,  the 
G-E  meter  can  be  used  very  effectively  to 
balance  lighting  and  measure  the  differ- 
ence between  the  highlights  and  the  shadow 
reading  of  the  subject  and  scene.  This 
facilitates    special    effects    obtainable    by 


Tones    in    a    seme    such    as    this    may    cover    eighl    F 
stops,  as  shown. 


controlling  the  illumination.  For  color  film 
work  it  is  easy  to  keep  the  ratio  between 
the  high  and  low-light  portions  as  4  to  1, 
or  at  the  2  to  1  ratio  for  best  results.  The 
same  thing  can  be  done  for  black  and 
white  work.  For  example,  a  high  key 
photograph  can  be  lighted  and  controlled 
by  measuring  the  light  to  keep  a  ratio  of 
2  to  1.  An  average  scene  will  be  4  or  5  to  1 
ratio.  Special  effects,  low  key  and  high 
contrast  pictures  can  be  made  by  making 
the  illumination  as  high  as  10  to  1,  or 
12  to  1. 

Some  outdoor  scenes  can  have  a  ratio  of 
128  to  1  but  the  average  photographic- 
paper  can  only  print  a  range  of  30  to  1, 
so  that  even  though  we  have  a  great  range 
on  our  films,  it  is  impossible  to  reproduce 
this  full  brightness  range  in  the  final  print. 
The  sensitive  curve  of  the  paper  of  course, 
can  be  made  to  somewhat  approach  that 
of  the  photographic  film  by  means  of 
dodging  when  an  enlargement  is  made. 
This  actually  reshapes  the  H  and  D  curve 
of  the  paper  by  stretching  and  bending  it 
around  until  it  more  nearly  fits  the  H  and 
D  curve  of  the  film.  On  the  average  scene 
this  special  work  is  not  necessary;  but  in 
some  conditions  a  better  print  will  result 
when  the  two  H  and  D  curves  are  more 
nearly  matched  by  dodging  when  the 
enlargement  is  made. 

This  is  by  no  means  the  end  of  the 
exposure  meter's  usefulness.  With  hood 
removed  it  can  be  used  to  measure  light 
transmitted  through  a  negative  for  correct 
exposure  in  printing  or  enlarging.  Numer- 
ous variables  that  are  encountered  in  print- 
ing prevent  a  calculator  as  simple  as  is 
used  with  films  being  made  for  paper. 
Photographic  paper  is  inclined  to  vary 
more  than  photographic  film  and  secondly, 
paper  developer  formulas  are  more  varied 
than  film  formulas.  Last  but  not  least,  the 
personal  element  must  enter  in  as  to  the 
type  of  print  the  operator  desires.  This  is 
something  that  cannot  be  measured  and  to 
compensate  for  this  unknown,  it  is  neces- 
sary to  take  a  reading  on  the  first  negative 
and  make  a  test  print.  This  gives  us  com- 
plete allowance  for  all  of  these  variables. 
For  example,  if  the  first  negative  reads  10 
and  the  test  time  is  20  seconds  and  the 
next  negative  reads  5  on  the  meter,  the 
required  time  would  be  40  seconds,  i.e., 
10  times  20  over  5  equals  40.  It  is  very 
easy  to  go  through  an  entire  row  or  group 
of  negatives  and  determine  quickly  the 
correct  exposure  time.  Use  the  formula — 
first  meter  reading  times  test-time  over  the 
meter  reading  of  unknown  equals  the  new 
printing  time.  By  using  this  accurately 
and  consistently  you  can  produce  prints  of 
the  same  quality  as  determined  by  the  first 
test  print.  This  same  method  may  be  used 
when  a  contact  print  is  made.  To  determine 
exposure  time  when  contact  printing,  place 
the  meter  cell  face  down  on  the  negative 
in  the  contact  printer.  Make  two  or  three 
measurements  to  determine  average  dens- 
ity. To  follow  this  procedure  when  making 


26 


enlargements,  the  meter  should  be  held 
close  to  the  lens  of  the  enlarger  to  get  an 
over-all  average  measurement  of  the  nega- 
tives. A  meter  held  on  the  baseboard  of 
the  enlarger  will  not  give  the  correct 
over-all  average. 

To  use  the  meter  to  determine  correct 
paper  grade  for  a  negative,  fit  the  photo- 
electric cell  with  a  small  mask.  Take  a 
light  source  such  as  a  gooseneck  reading 
lamp,  and  hold  it  above  the  light  meter. 
The  negative  can  then  be  placed  on  the 
light  meter  and  the  darkest  and  the  light- 
est part  of  the  negative  measured.  Roughly, 
if  the  negative  has  a  ratio  of  10  to  1  a 
contrasting  or  hard  type  of  paper  should 
be  used.  If  the  ratio  is  about  20  to  1  a 
medium-grade  paper  will  give  the  best 
results.  A  contrast  range  of  30  to  1  will 
require  a  soft  grade  of  paper.  Since  there 
are  certain  variations  in  different  makes  of 
paper,  this  ratio  may  not  hold  exactly. 
However,  a  complete  range  of  paper  speeds 
are  shown  in  the  Photo  Data  Book  which 
comes  with  each  G-E  meter,  so  that  each 
make  of  paper  can  be  measured  and  fitted 
to  the  negatives. 

For  color  printing,  the  meter  can  be 
used  as  a  simple  densitometer.  A  smaller 
hole  should  be  made  for  a  photoelectric 
cell  mask  and  a  brighter  light  source  used 
to  measure  the  grey  scale.  In  this  way  all 
three  negatives  may  be  quickly  compared. 
To  determine  the  exact  density  of  a  nega- 
tive, read  the  meter  without  a  negative 
over  the  cell.  Divide  the  reading  by  the 
number  obtained  when  the  negative  is 
placed  over  the  cell.  This  gives  the  opacity. 
Density  is  the  logarithm  of  opacity. 

Darkroom  application  of  the  exposure 
meter  does  not  stop  here.  Should  you  wish 
to  make  negatives  of  Kodachrome  film  the 
exposure  meter  is  held  up  against  the 
Kodachrome,  and  the  scene  brightness  is 
measured  by  the  meter.  The  calculator  can 
then  be  set  the  same  as  for  outdoor  use 
to  determine  the  proper  exposure.  For 
Kodachrome  use  No.  213  enlarging  lamps 
or  #1  photofloods  to  obtain  correct  color 
temperature.  This  system  is  of  sufficient 
accuracy  so  that  you  can  use  Kodachrome 
film  to  duplicate  a  Kodachrome  trans- 
parency. The  meter  should  be  held  against 
the  transparency  with  Type  A  Kodachrome 
placed  in  any  suitable  device  for  holding 
the  film.  The  original  transparency  is  then 
projected  to  make  the  duplicate  using  the 
calculated  exposure.  The  result  will  be  the 
same  quality  as  the  original.  Occasionally, 
by  slightly  modifying  the  exposure,  dupli- 
cates can  be  improved  over  the  original. 
This  method  can  be  used  to  modify  the 
composition  on  enlargements  and  will 
give  the  same  effect  as  a  telephoto  lens. 

These  are  some  of  the  ways  your  expos- 
ure meter  can  help  you  get  better  pictures. 
The  more  you  use  it,  the  more  indispens- 
able it  will  become  to  you.  And  as  a 
constant  companion  in  all  phases  of  your 
photographic  work,  it  will  help  you  make 
good  results  a  habit. 


5784-02    Q-E  EXPOSURE  METER,  TYPE  OW-49,  WITH  HOME  MOVIE  CAMERA. 


EASTERN  HEADQUARTERS  for  the  CAMERAMAN 

Professional  Studio  &  Cutting  Room  Equipment  Always  Available 


BELL  &  HOWELL 

Standard,    Hi-Speed,    Procesc 
and  Eyemo  Cameras 


MITCHELL 

Standard,  Hi-Speed,  Silenced 
and    NC   Cameras 


WALL 


Latest    Model    Single    System 
Sound   Cameras 


WE  SPECIALIZE  in  REPAIR  WORK  on  MITCHELLand  BELL  &  HOWELL  CAMERAS 


Interlock,   Synchronous,   Hi-Speed   and   Variable   Speed   Motors  with  Tachometers 

FEARLESS    BLIMPS  —  FEARLESS   and    RABY    PANORAM    DOLLYS 
35  mm.  Double  System  Recording  Equipment 

COOKE   SPEED   PANCHRO   and   ASTRO   PAN  TACHAR  LENSES— all  focal  lengths 
MOVIOLAS  SYNCHRONIZERS  REWINDS  TRIPODS 


FRANK-ZUCKER 


CABLE  ADDRESS:  CINEQUIP 


Camera  Equipment 


1600   BROADWAY  nyc 


CIrcle   6-5060 


FAXON  DEAX 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


International  Photographer  for  July,  1941 


27 


They  SAy" 


Bv  RELLA 


•  Off  to  Fort  Knox,  Kentucky,  for  pur- 
poses of  filming  army  tank  maneuvers  in 
color  are  Bert  Glennon,  first  cameraman; 
Ellsworth  Fredericks  and  Wesley  Ander- 
son, second  cameraman;  Nelson  Cordes  and 
Duke  Callahan,  technicians;  Eddie  Wade 
and  Rod  Tolmie,  assistants;  and  Fred 
Morgan,  still  cameraman. 

•  The  boys  in  the  Newcomb  department 
at  MGM  are  now  devoting  all  their  time 
to  matte  shots  on  the  guitar. 

•  Bill  Eglington.  RKO  camera  depart- 
ment executive,  used  to  shoot  stills,  was  a 
first  cameraman  and  at  times  directed. 
Thus  we  can  understand  Bill's  expert  judg- 
ment in  acting  as  critic  in  his  berth. 

•  Francis  J.  Burgess,  Paramount  assistant 
cameraman,  now  in  the  United  States 
Armv.  located  at  Sixteenth  Air  Base.  Stock- 
ton Field,  Stockton,  Calif. 

•  James  V.  King.  Recording  Secretary  of 
Local  659,  was  a  banker  in  his  youth. 

•  John  Burton,  of  Schlesinger,  conceives 
and  designs  many  of  the  main  titles  we  see 
in  pictures. 

•  Off  to  Florida  again  for  background 
shots  for  the  new  Tarzan  picture  are  Lloyd 
Knechtel,  first  cameraman;  A.  Linslay 
Lane  and  Herold  Baldwin,  second  camera- 
men. 

•  Off  to  Arizona  on  Wangers  new  pro- 
duction are  Charles  Lang,  first  cameraman; 
Curley  Linden,  second  cameraman ;  George 
Belisario,  Paul  Cable,  Charles  Russell,  as- 
sistants; and  Eddie  Henderson,  still  cam- 
eraman. 


Efficient  Courteous 

Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

Neu>  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga    Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


•  Irving  Ries.  of  the  Ries  Department,  is 
a  master  pilot  with  many  wins  to  his  credit 
in  boat  racing  in  Southern  California.  We 
look  to  see  an  engagement  between  him 
and  some  of  the  boys  of  Vern  Walker's 
department,  who  are  also  skillful  in  the 
same  sport. 

•  Cliff  Stine  now  shooting  first  camera  at 
RKO  Studios. 

•  Joe  MacDonald  shooting  first  at  20th 
Century-Fox. 

•  Bill  Draper  in  his  spare  time  is  super- 
vising a  machine  shop  on  defense  work. 

•  Lee  Garmes,  who  photographed  "Illu- 
sion"' for  Korda,  also  is  associate  producer 
on  the  same  production. 

•  Philip  W.  O'Neil  is  now  a  First  Lieu- 
tenant in  the  Corps  Area  Service  Com- 
mand. Signal  Corps,  Unit  1900,  at  the  Pre- 
sidio, San  Francisco. 

•  Tod  La  Clede  soon  will  have  to  keep 
his  constant  companion,  a  beautiful  chow, 
off  the  best  chairs  at  home.  He  will  be 
married  to  Clara  Nibert  in  the  not  distant 
future. 

•  Robert  Rhea  is  under  new  management, 
having   recently   married    Phyllis   Cottrell. 

•  It's  a  close  race  for  first  place  as  best 
dressed  assistants,  with  Mike  Doyle,  Louis 
DeAngelis  and  Freddie  Anderson  as  con- 
testants. 

•  Norman  Alley  and  Paul  Ivano  palling 
around  in  Buenos  Aires,  talking  over  how 
things  are  going  in  good  old  Hollywood. 

•  Paul  G.  Vogel,  MGM  cameraman,  pho- 
tographed and  directed  a  Pete  Smith  Short 
dealing  with  armv  life,  to  be  released 
shortly.  By  coincidence  Vogel  was  in  the 
Photographic  Corps  during  World  War 
No.   1. 

•  Off  to  the  Georgia  swamps  are  Lucien 
Ballard  and  Joe  McDonald,  first  camera- 
men. Twentieth  Century  Fox.  with  assist- 
ants Lee  Crawford  and  Jack  Epstein. 


IN  THE  MAIL 

"U.  S.  Naval  Air  Station, 
Pensacola.  Florida. 

"Dear  Herb: — I  know  I'm  a  little  slow 
in  getting  around  to  my  correspondence, 
but  here's  a  line  to  let  you  know  that  I'm 
still  here  and  flying  about  a  half  day  and 
six  days  a  week.  The  rest  of  the  time  has 
been  spent  in  ground  school  with  nights 
and  Sundays  for  studying.  In  fact,  the 
schedule  is  so  efficient  for  taking  up  all 
our  time  that  some  of  the  boys  are  think- 
ing of  making  a  break  for  it  over  the  south 
wall.  The  local  Chamber  of  Commerce 
calls  it  the  "Annapolis  of  the  Air"  and  the 
Cadets  call  it  the  "Alcatraz  of  the  Air." 

"Anyhow  it's  all  in  fun  and  for  our  own 
good  that  we  are  getting  these  tough 
courses  in  navigation,  aerodynamics,  etc. 
In  six  or  seven  months  they  have  to  make 
pilots,  naval  officers  and  radio  operators 
out  of  us,  which  after  all  is  a  pretty  big 
order. 

"The  flying  has  been  swell.  About  three- 
fourths   of  the  time   is  solo  work   and   for 


the  past  couple  of  weeks  I've  been  working 
on  acrobatics  and  what  I  mean,  everything 
in  the  book. 

"In  spite  of  all  the  work  we  seem  to 
have  a  prettv  swell  time  of  it,  especially 
when  we  get  into  our  white  uniforms  and 
step  out.  We  have  a  complete  set  of  offi- 
cers' uniforms  and  a  lot  of  their  privileges 
.  .  .  which  makes  up  for  the  long  hours. 

"All  of  the  old  buildings  have  been  torn 
down,  with  the  result  that  we  have  prac- 
tically a  new  station.  Blocks  of  "colossal" 
new  buildings  have  been  put  up  every- 
where. There's  a  fleet  of  sailboats  for  us 
to  use  and  a  big  riding  stable,  so  as  soon 
as  I  finish  school  in  another  month  I'm 
going  to  get  in  there  and  pitch. 

"Bill  Cline,  Will  Cline  and  Freddie  Det- 
mers  stopped  in  to  see  me  on  their  way  back 
from  "The  Yearling"  location.  It  surely 
made  me  homesick  when  they  pulled  out 
on  the  train  for  Hollywood.  It's  good  to 
know  that  things  have  been  going  well  and 
pictures  are  still  being  made. 

"I'll  write  more,  Herb,  when  I  can  get 
a  little  time  ahead.  Please  convey  my  best 
wishes  to  the  boys.  I'll  try  to  get  an  in- 
teresting article  for  the  magazine  in  the 
near  future. 

"Shall  hope  to  see  you  in  about  four 
months  if  I'm  lucky. 

Sincerely  yours. 

BOB  HAGER." 

Irwin  Shaw  at  Warner  Bros. 

Irwin  Shaw,  noted  playwright,  has  ar- 
rived at  Warner  Bros,  to  turn  his  original 
story,  "The  Hard  Way,"  into  a  screen  play 
for  Ida  Lupino.  Shaw's  most  recent  Broad- 
way success  was  "The  Gentle  People," 
which  was  filmed  by  Warners  as  "Out  of 
the  Fog,"  with  Ida  Lupino,  John  Garfield, 
Thomas  Mitchell  and  John  Qualen. 

CLASSIFIED  ~ 

WANTED  TO  BUY  FOR  CASH  EYEMO 
CAMERA.  Box  L-64,  International  Photo- 
grapher,   6461    Sunset    Blvd.,    Hollywood. 

RABY  STUDIO  EQUIPMENT  CCX  BLIMP  for 
Mitchell  N.  C.  or  Standard  camera.  In  like  new 
condition,  complete  :  reasonable.  Write  or  wire  for 
details. 

CAMERA   EQUIPMENT  COMPANY 
1600   Broadway,   New   York   City 

Telephone:    Circle   5-6080 Cable:    Cinequip 

BELL  &  HOWELL  SILENT  PRINTERS  CONVERT- 
ED    INTO     5     WAY     SOUND     PRINTERS     AND 
COMPLETELY    MODERNIZED.      Ask    for    details. 
CAMERA   EQUIPMENT   COMPANY 
1600   Broadway,   New   York    City 
Telephone:    Circle   5-6080 Cable:    Cinequip 

WANTED   TO   BUY   FOR   CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL,    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO      LABORATORY      AND      CUTTING 

ROOM  EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600   Broadway  New  York  City 

Tel.    Circle   6-5080— Cable  :    CINEQUIP 

FOR  SALE:  AKELEY  CAMERA,  like  new.  No. 
258,  with  roller  pressure  plate,  new  tripod  and 
legs,  all  new  gyro  gears,  six  magazines,  35  mm. 
F2:3  matched  pan  astro  lenses,  50  mm.  F2:3 
matched  pan  astro  lenses,  100  mm.  F3:5  matched 
Carl  Zeiss  lenses,  12-inch  F  5 :6  Dahl  Meyer  Tele- 
photo  lens.  All  equipment  in  cases.  230  and  180 
degree  interchangeable  shutters.  Ten  metal  filter 
holders  in  case.  Sacrifice  $900.  MERVYN  FREE- 
MAN, 12041  ADDISON  ST.,  NORTH  HOLLY- 
WOOD,   CALIF. 


28 


HimilvY  VALl JES 


RIGID  laboratory  control  sees  to  it  that 
every  roll  of  Eastman  negative  film  has 
its  full  complement  of  the  hidden  values 
—  speed,  wide  latitude,  high  resolving 
power,  unvarying  dependability  —  that 
make  possible  the  glowing  beauty  of 
today's  screen  productions.  Eastman 
Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  super-: 

for  genera I  studio  use  trhen  lit  tie  light  is  uvuilabte 

BACKGROUND-X 

for  backgrounds  und  general  exterior  work 

EASTMAN  NEGATIVE 


Hollywood  Reporter 
Preview  Poll  Awards 


Mr.  Arthur  Reeves 
1515  No.  Cahuenga 
Hollywood,  Calif. 


To 


ERNEST  PALMER,  A.S.C. 


DIRECTOR    OF    PHOTOGRAPHY 


Twentieth-Century  Fox 

"Blood  and  Sand" 

in 
technicolor 

and 

RAY  RENNAHAN,  A.S.C. 


FOR    TECHNICOLOR 


*EN»*HaN 


ERN 


EASTMAN    FILMS 

BRULATOUR  SERVICE 


AuqusT,  1941 


25  CENTS 


SO  LIBERTY  MAY  LIVE" 


FRED  MORGAN 


1 


(Type  104)  An  extremely  fine 
grain  makes  this  film  ideally  suited  for  taking  background  negatives 
and  for  general  exterior  use.  It  has  moderate  speed,  requires  normal 


development. 


2 


(Type  126)  High  Speed,  fine 
grain,  a  long  scale  gradation  and  a  well  corrected  panchromatic  color 
response  are  combined  in  this  "balanced"  film  for  general  studio  use. 


3 


v_X    (Type    127)      Approximately 

twice  as  fast  as  Superior-2,  still  this  film  retains  a  remarkably  fine 

grain  size.     It  is   ideal  for  cinematography  under  adverse  lighting 
conditions. 


DU  PONT  FILM  MANUFACTURING  CORP.,  NEW  YORK,  N.  Y. 
SMITH  &.  ALLER,  LTD.,  HOLLYWOOD,  CALIF. 


BETTER  THINGS  for  BETTER  LIVING   through  CHEMISTRY 


International 

phOTOQRAphER 


Vol.  XIII 


August,  1941 


No.    7 


LEADING  ARTICLES  IN  THIS  ISSUE 

When  to  Use  Infra-Red,  Sparkuhl — Page  3 
"The  Tanks  Are  Coming,"  Morgan — Page  6 
South  of  the  Equator,  Shackelford — Page  12 
"Sergeant  York" — Page  18 

PICTORIAL  FEATURES 

On  the  Beach,  Mortensen — Page  2 

"The  Tanks  Are  Coming",  Morgan — Pages  4  and  5 

"Sergeant  York,"  Weisbarlh — Pages  8  and  9 

"Here  is  a  Man,"  Benninger — Pages  10  and  11 

South  of  the  Equator,  Shackelford — Pages  14  and  15 

B-19  Bomber— Page  17 

Lunatic  Lensman,  W elbourne — Pages  24  and  25 


REGULAR  DEPARTMENTS 


16  mm  Department — Page 
Tradewinds — Page  22 
Patents,  Fulwider — Page  26 
They  Say,  Rella — Page  28 


20 


Editor,  Herbert  Aller 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho- 
tographers, Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CAlDWElt 


Congratulations,  S.M.P.E. 

Twenty-five  years  ago  at  the  first  meeting 
of  the  Society  of  Motion  Picture  Engineers, 
with  an  attendance  of  twenty-six  persons, 
it  was  not  dreamed  that  the  Society  would 
now  number  close  to  1300  members,  in  all 
parts  of  the  world. 

The  motion  picture  industry  has  greatly 
benefited  through  efforts  of  the  S.M.P.E. 
which  during  all  these  years  has  not  lost 
sight  of  its  object: 

"Advancement  in  the  theory  and  prac- 
tice of  motion  picture  engineering  and  the 
allied  arts  and  sciences,  the  standardization 
of  the  mechanisms  and  practices  employed 
therein,  and  the  maintenance  of  a  high  pro- 
fessional standing  among  its  members." 

Congratulations,  Society  of  Motion  Pic- 
ture Engineers,  on  your  Silver  Anniversary. 

A  Matter  of  Identity 

Last  month  in  this  space  we  ran  a  picture 
of  "Shack"  and  "Jack."  With  editorial 
courtesy  we  mentioned  "Shack"  first,  even 
though  "Jack"  appeared  at  the  left  of  the 
picture.  As  a  result  James  B.  Shackelford 
( "Shack" )  has  been  the  target  of  a  lot  of 
joshing  and  asks  if  we  will  please  identify 
him  in  the  picture  as  "the  one  with  the 
short  ears." 


Efficient  Courteous 
Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

■ 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


for  difficult  s*»»»  -  THE     ORIGINAL 

Scheibe's  Monotone  Filter 

INDICATES  instantly  how  every  color  and 
light  value  of  a  scene  or  object  will  be  ren- 
dered in  the  finished  print  before  taking 
the  picture.     •:■     always  ready. 

GRADUATED  FILTERS 

FOG  SCfNES,  DIFFUSED  FOCUS  AND   OTHER   EFFECTS 


Gcorqe  H.  Scheibe 

ORIGINATOR   OF   EFFECT    FILTERS 
1927  WEST  7B'h  ST  LOS  ANGELES.  CAL 


International  Photographer  for  August,  1941 


ON  THE  BEACH" 


By  William  Mortensen 


wllEN  TO  USE  hfRA'REd  fillVI 


By  Theodore  Sparkuhl  of  Paramount  Pictures 


Theodore  Sparkuhl  was  born  in  1894  in  Han- 
over, Germany.  He  graduated  from  Lyceum  I  at 
Hanover,  studied  medicine  at  Heidelberg  and 
Bonn,  but  was  compelled  to  discontinue  on  ac- 
count of  finances. 

He  started  in  the  motion  picture  business  with 
Leon  Gaumont  in  Paris  in  1912,  became  a  news 
cameraman  in  1913.  and  was  sent  to  Berlin  for 
Gaumont   Paris. 

Sparkuhl  started  as  first  cinematographer  in 
studio  work  with  Eikofilm,  then  Eclair  Paris,  went 
at  the  outbreak  of  war  to  Berlin,  was  drafted 
as  a  cinematographer  in  Russia,  France,  Austria, 
Bulgaria,  Greece  and  Turkey.  Early  in  1918  he 
was  transferred  to  UFA.  Berlin,  and  stayed  with 
that  firm  until  1928,  photographing  practically 
all  of  the  Lubitsch   Pictures. 

He  went  to  England  in  1928  for  BIP  and  stayed 
until  1930.  In  the  fall  of  1930  he  returned  to 
Paris  and  worked  for  Braunberger-Richebe  at 
Billancourt.  He  applied  for  the  American  Quota 
in  Paris  and  sailed  for  the  United  States  in 
December  1931.  He  was  admitted  to  Local  659 
in  April,  1933,  and  has  worked  at  Paramount 
ever  since,  photographing  about  45  pictures  in 
that  time,  the  more  recent  being  "Hardboiled 
Canary,"'  "Rangers  of  Fortune,"  "The  Light  That 
Failed,"  "Rulers  of  the  Sea,"  "If  I  were  King," 
"Wells  Fargo,"  etc. 

He  became  a  citizen  of  the  United  States  in 
1937  and  was  married  on  one  of  his  film  trips 
to  Europe.  He  has  five  children,  three  boys  and 
two  girls,  the  oldest  being  an  interne  at  General 
Hospital,  Los  Angeles.  Sparkuhl  has  finished  his 
medical  studies  while  in  pictures  and  during 
the  war  was  used  as  news  man  and  surgeon 
simultaneously. —  (Editorial  Note) . 

This  little  article  is  written  to  help  the 
cinematographers  and  still  photographers 
who  have  not  had  sufficient  experience  in 
the  application  of  infra-red  film,  to  help 
them  understand  its  beauty  for  certain 
effects,  its  possibilities — and  the  headaches 
they  may  get  by  using  it. 

Primarily,  infra-red  film,  as  the  name 
implies,  does  not  have  a  panchromatic 
emulsion;  in  other  words  it  is  not  sensi- 
tive to  all  colors  of  the  spectrum.  It  has 
an  emulsion  which  to  a  great  extent  cuts 
out  the  blue  rays,  if  used  with  a  red  filter 
such  as  F-29  and  25. 

There  are  several  types  of  infra-red  film 
on  the  market,  but  the  Pan  K  of  Eastman 
and  the  Infra  D  of  Dupont  are  the  ones 
generally  used  professionally.  The  Pan  K 
has  a  tendency  to  create  very  eerie  effects, 
especially  in  the  rendition  of  foliage,  which 
turns  very  bright.  The  Dupont  Infra  D, 
while  having  the  same  general  quality,  does 
not  turn  the  greens,  such  as  foliage,  as 
light,  but  keeps  them  more  subdued. 

It  depends  largely  upon  the  individual 
judgment  of  the  cinematographer  as  to 
which  film  he  should  use  for  the  require- 
ments of  the  scenes  to  be  photographed  for 
night  effects.  In  one  of  my  recent  pictures 
I    was    confronted    with    the    necessity    of 


creating  rather  odd  and  mysterious  effects 
in  the  day  time-  The  action  took  place 
around  a  cemetery,  under  trees,  but  it  had 
to  be  daytime.  After  making  some  tests,  I 
decided  to  use  infra-red  film  with  a  very 
light  filter,  No.  21,  in  addition  to  which 
I  used  fog  filters  and  Schiebe  Diffusion. 
The  effect  approached  perfection.  So  you 
see  that  infra-red  may  be  used  for  certain 
day  effects.  One  has  to  be  particularly  care- 
ful in  lighting  the  actors,  because  infra- 
red film  has  a  tendency  to  render  your 
picture  in  much  higher  contrast  than  you 
seem  to  see  with  your  own  eyes.  The  make- 
up of  lips,  for  instance,  has  to  be  more  on 
the  brown  side,  with  no  red  in  it,  lest  you 
want  the  lips  to  appear  lighter  than  the 
skin! 

The  overall  sensitivity  is  practically  the 
same  with  both  types  of  films,  about  24 
Weston.  By  using  a  29  F  filter  I  found  the 
best  density  in  the  developed  negative  by 
allowing  only  two  to  two  and  a  half  stops 
from  the  daylight  value.  A  great  deal  de- 
pends upon  the  freshness  of  the  emulsion 
you  use  and  I  have  always  found  it  safe 
to  test  emulsion  furnished  by  my  company 
before  actually  shooting  it  on  production. 

While  it  has  great  advantages  for  night 
effects,  infra-red  film  should  by  no  means 
be  looked  upon  as  a  cure-all!  It  should 
be  used  only  on  outdoor  shots  where  it  is 
important  to  enhance  the  beauty  of  the 
landscape  and  where  it  would  be  impos- 
sible to  light  the  scope  of  your  shot  arti- 
ficially. In  many  cases  I  have  found  it 
disastrous  where  some  ambitious  business 
manager  decided  to  use  infra-red  film  to 
save  the  artificial  lighting  of  a  shot  or  se- 
quences which  would  very  well  have  been 
lighted  with  much  better  results.  I  remem- 
ber a  few  years  ago  when  infra-red  film 
came  into  vogue  that  the  studios  wanted 
to  take  advantage  of  existing  sets  on  their 
back  lots  for  both  day  and  night  effects, 
photographed  in  the  davtime,  without  re- 
painting the  sets.  So  extensive  tests  were 
made  to  determine  what  color  the  sets 
should  be  painted  to  give  the  most  even 
effect  if  photographed  in  daylight  with 
the  regular  panchomatic  film  and  also  for 
night  effects  with  infra-red.  The  color  that 
gave  the  best  effect  was  a  gray-blue,  but 
several  disadvantages  popped  up  in  that 
infra-red  can  be  used  successfully  only 
if  photographed  under  proper  light  con- 
ditions. As  this  necessity  was  too  great 
a  risk  on  the  budgets,  business  managers 
have  abandoned  this  way  of  shooting  more 
and  more  and  have  come  back  to  the  arti- 
ficial lighting  of  existing  street  sets  to  be 


photographed  either  at  night  or  under  dif- 
fusion blacks. 

In  using  infra-red  film  the  cinematog- 
rapher should  be  given  free  hand  to  pick 
his  angles,  because  he  is  the  one,  and  the 
only  one,  to  decide  whether  he  can  get  the 
expected  result  from  such  and  such  an 
angle.  The  light  should  always  be  cross- 
light,  favoring  the  faces  of  the  actors.  It 
might  be  slightly  back-cross  with  enough 
reflected  light  filled  in,  but  never  should 
it  be  a  direct  back  light,  because  the  haze 
of  your  back-light  overpowers  whatever 
blue  there  is  left  in  the  sky-  As  a  result 
you  cannot  expect  your  sky  to  go  dark. 

Great  care  should  be  taken  not  to  shoot 
infra-red  too  late  in  the  day,  because  the 
sunlight  goes  redder  toward  late  afternoon 
and  as  a  result  your  film  will  appear  to 
have  much  more  contrast  than  during  the 
morning  or  early  afternoon  shots. 

It  is  very  important  to  work  hand-in- 
hand  with  the  laboratory  when  working  on 
infra-red  sequences,  because  in  the  heat  of 
the  battle  you  may  be  induced  to  shoot 
longer  than  you  really  should  or  you  might 
run  into  a  situation  which  in  itself  might 
not  be  very  favorable  to  infra-red  film,  but 
which  might  be  corrected,  or  at  least  helped 
and  improved  by  shortening  or  extending 
the  developing  time. 

Quite  frequently  one  is  in  a  position 
where  it  is  necessary  to  change  from  infra- 
red to  the  regular  film,  especially  in  scenes 
where  it  is  necessary  to  break  up  your  long 
shots  and  move  in  for  the  closer  action 
scenes  with  the  actors.  Personally  I  prefer 
to  go  over  to  regular  film  for  these  shots 
if  it  is  possible  to  avoid  the  sky,  or  at  least 
to  avoid  it  to  some  extent.  With  a  combina- 
tion filter  such  as  23-56,  or  25-56,  you 
will  find  that  the  quality  of  the  faces  of 
your  actors  will  be  much  more  natural 
than  with  the  infra-red  film.  But  extremely 
careful  judgment  on  your  part  is  necessary. 
Furthermore,  be  on  the  lookout  for  dresses 
or  costumes  which  have  red  in  them.  Watch 
for  this  right  from  the  start  of  the  picture, 
or  you  and  your  studio  are  apt  to  have 
some  shocking  surprises.  I  remember  one 
dress  on  an  actress.  It  didn't  seem  to  have 
red  in  it  at  all,  but  when  we  saw  the  rushes 
we  almost  died,  for  it  looked  as  if  she 
were  running  around  in  a  nightgown.  The 
reason?  She  wore  a  fiery-red  slip  under 
her  knitted  dress,  not  visible  to  the  eye, 
but  the  infra-red  looked  right  through  it! 
So  be  careful  in  using  infra-red  film  and 
exercise  good  and  cool  judgment.  Results 
obtained  in  "The  Light  That  Failed"  are 
due  only  to  fair  breaks,  planning  and  good 
judgment. 


International  Photographer  for  August,  1941 


"The  Tanks  Are  Coming* 


Warner  Bros.  Production 


1 


Stills  by  Fred  Morgan 


Pit 


*    f! 


International  Photographer  for  August,  1941 


"tIie  tanLs  are  cominq" 


By  Fred  Morgan, 

Warner  Bros.  Still  Photographer 


And  if  you  don't  believe  it,  hie  yourself 
to  Fort  Knox  and  see  for  yourself.  It  will 
be  an  education  you  won't  soon  forget. 

Warner  Bros,  decided  that  Mr.  and  Mrs. 
Citizen  should  know  all  about  what  our 
army  is  doing  and,  in  order  to  "put  it 
over,"  figured  a  moving  picture  made  in 
color  on  the  spot  would  tell  the  story  as 
it  should  be  told.  Consequently,  the  var- 
ious studio  departments  were  set  into  mo- 
tion and,  shortly,  Warners'  camera  chief, 
Mike  McGreal,  had  two  Technicolor  crews 
rounded  up  and  on  the  way  to  Fort  Knox. 

Breezy  Eason,  assigned  to  direct,  and 
Bert  Glennon,  chief  cinematographer,  had 
to  fly  down  so  they  could  line  up  the  shoot- 
ing schedule  in  such  a  way  that  it  would 
not  slow  up  the  training  of  mechanized 
troops.  The  rest  of  the  gang  went  by  train 
from  here  to  Louisville,  Kentucky,  and 
then  thirty  miles  out  to  where  Fort  Knox 
is  located.  It  amounted  to  three  days  of  a 
hot,  boresome  ride  through  ten  states,  then 
off  the  train  at  eleven  P.  M.  in  a  pouring 
rain  and  no  familiar  faces  to  guide  us  to 
a  place  to  sleep. 

It  wasn't  long,  though,  until  out  of  the 
darkness  strode  a  little  fellow  in  a  Col- 
onel's uniform  and  behind  him  was  a  Ser- 
geant, the  biggest  man  I've  ever  seen.  He 
took  one  look  at  the  huddled  bunch  of 
lonesome,  wet  movie-makers  and  bellowed, 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,    Developing    Machines,    Bipack 
Color  and  Black  and   White  Printers,  Re- 
winds. 
Special    Machinery    built    to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:     "CINEBARSAM" 


"Fall  in,  you  guys."  Andy  Anderson,  cam- 
era operator,  being  an  ex-war  vet,  finally 
figured  he  meant  us,  so  we  fell  in  and  down 
and  everything  else  that  could  be  anything 
but  military. 

"Forward  march!"  bellowed  our  friend. 
So  we  started  with  suitcases,  portable  ra- 
dios, hat  boxes  and  what-not,  a  sorry-look- 
ing sight,  all  out  of  step  and  loaded  down. 

We  went  the  length  of  a  box  car  where 
there  was  a  light,  and  the  order  came  to 
halt.  Well,  the  guys  up  front  halted,  but 
some  of  the  forty-odd  others  didn't,  and 
arms,  legs  and  suitcases  were  a  pile  to  be- 
hold. Out  from  behind  the  box  car  came 
Breezy  Eason,  Bert  Glennon  and  Col. 
"Jimmy"  Jaynes,  and  then  we  knew  we 
had  been  framed.  Needless  to  say,  thev 
were  in  hysterics.  However,  we  were  soon 
housed  in  very  comfortable  barracks  and 
sound  asleep. 

Next  morning  we  were  out  with  the  sun 
and  on  the  playground  of  the  tanks.  Acres 
of  rolling  hills  covered  with  brush  and 
trees — and  dust.  Oh,  boy,  that  dust!  The 
camera  crews  took  the  beating.  Dust  was 
so  thick  on  the  lenses  it  meant  stopping 
shooting  until  the  equipment  was  cleaned 
time  and  again. 

Have  you  ever  seen  a  tank  coming  at 
you?  Well,  you  won't  forget  it  in  a  long 
time  when  you  do.  Twenty-eight  tons  of 
massive  steel  bristling  with  guns  and  bear- 
ing down  on  you  at  30  or  40  m.p.h. 

Glennon  assigned  Eli  Fredericks,  opera- 
tive cameraman,  a  low  set-up  in  the  path 
of  a  group  of  tanks,  some  to  turn  out  just 
a  few  feet  in  front  of  the  camera.  I  figured 
that  would  be  the  spot  for  a  real  action 
still  picture,  so  I  squatted  with  Eli  and 
his  crew.  I  stuck  it  out  and  got  my  picture, 
but  that  tank  was  about  the  biggest  mon- 
ster I  have  ever  seen  in  dreams  or  out. 

There  were  tanks  everywhere,  going  in 
all  directions  and  stopping  at  nothing. 
Old  barns,  trees,  canyons,  mud  holes, 
fences,   hedges,   rocks — nothing   seemed   to 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


worry  them.  If  they  couldn't  knock  down 
and  trample  the  obstacles,  they  would  just 
go  over  the  top  and  down  the  other  side 
and  on.    Always  they  go  on. 

During  the  course  of  the  story,  it  was 
very  necessary  to  show,  head  on,  what  a 
tank  does  when  meeting  these  objects.  As 
far  as  I  know,  a  tank  was  made  into  a 
Hollywood  "camera  car"  for  the  first  time. 
To  Bill  Classen,  head  grip,  go  the  honors 
for  "tying  down"  a  Technicolor  camera 
on  a  tank,  which  has  nothing  but  flat, 
smooth  armor  plate  all  over  it.  He  did  it 
and  with  the  camera  pointed  over  the  snout 
of  a  tank  we  took  off  down  through  the 
woods  and  swamps. 

I  can  tell  you — but  you'd  better  see  the 
picture — with  her  nose  pointed  down  into 
a  hole  deep  enough  to  bury  a  house  she 
goes,  to  the  bottom  and  up  out  the  other 
side,  across  a  knoll  at  30  m.p.h.  and  head- 
on  into  a  rock  maple  tree,  twelve  inches 
thick,  which  explodes  into  a  million  bits, 
flying  all  over  the  landscape.  After  that 
one,  I  noticed  all  the  boys  feeling  the 
knots  in  the  ropes  that  tied  them  on.  There 
is  no  such  thing  as  roads  and  as  it  rained 
every  day  there  were  plenty  of  mudholes 
to  play  in  for  the  youngsters  who  are  learn- 
ing to  handle  tanks — and  can  they  handle 
those  monsters  of  steel! 

As  to  Fort  Knox,  last  November  there 
were  a  few  buildings,  housing  some  fif- 
teen hundred  men  and  officers.  Today, 
there  are  barracks  housing  forty  thousand 
men  and  thousands  of  pieces  of  rolling 
stock — cars,  trucks,  scout  cars,  motorized 
guns  and  tanks.  Schools,  schools  for  ev- 
erything. 

And  the  men  must  be  fed.  Just  as  an 
eye-opener,  I'll  pass  on  the  figures  the  offi- 
cer in  charge  of  feeding  gave  me.  The 
men  decided  they  wanted  hot  dogs  for  din- 
ner one  night,  so  he  scouted  all  the  big 
cities  around — Louisville,  even  Chicago — 
and  finally  found  enough.  30,800  pounds 
of  bow-wows  for  one  meal,  along  with  40,- 
000  loaves  of  bread  and  17,000  quarts  of 
milk! 

Yes,  sir,  mister,  the  tanks  are  coming — 
and  am  I  glad  I  saw  it  all  and  now  realize 
what  our  Uncle  can  do  when  he  sets  his 
mind  to  it! 


Orson  Welles'  New  Picture 

Orson  Welles  is  producing,  writing,  di- 
recting and  starring  in  his  second  picture 
for  RKO  Radio.  Plans  are  still  shrouded 
in  the  secrecy  which  characterizes  Orson 
Welles'  technique.  Promises  to  be  even 
more  arresting  than  "Citizen  Kane,"  which 
will  be  one  of  the  early  season  attractions. 


\  i  m:i:  hami 


NE\^  lightings,  uew  camera  angles  en- 
liven  today*:?  screen  productions.  Com- 
plete confidence  in  the  wide  latitude 
and  unvarying  uniformity  of  Eastman 
negative  films  encourages  directors 
and  cameramen  to  take  full  advantage 
of  everv  dramatic  situation.  Eastman 
Kodak  Company.  Rochester.  N.  \, 

J.  E.  BRULATOIR.  INC..  Distributors 
Fort  Lee  Chicaso  Hollvwood 


PLXS-X  super-: 

for  general  studio  use  tchen  little  light  is  available 

BACKGROUXD-X 

for  baekgrounds  and  general  exterior  tcork 

EASTMAA  NEGATIVE  FILMS 

International  Photographer  tor  August.  1941  " 


'Sergeant  York" 


Warner  Bros.  Production 


Left  to  right:  Joan  delVal  and  Gary  Cooper;  Yanks  advanee  through 
smoke  of  battle;  more  yanks  coming  up;  Gary  Cooper  and  George 
Tobias  on  firing  line;  fighting  over  a  mountain;  Joe  Sawyer,  George 
Tobias,  Jaek  Rennick  and  Carl  Esmond. 


a 


Camera  Set-ups 


Stills  by  Ted  Weisbarth 


Jesse  L.  Lasky  gets  grandstand  view  of  a  battle  scene;  camera  crew 
ready  to  shoot  an  advance;  close  to  the  enemy  lines;  cameras  "take" 
a  German  machine  gun  nest;  "Breezy"  Eason  shows  Producer  Lasky 
and  Cameraman  Edeson  where  he  expects  an  artillery  barrage  to 
burst;  Al  Smalley,  assistant;  Eddie  Fitzgerald,  second;  George  Bourne, 
assistant  and  Arthur  Edeson,  first  eameraman   (second  unit). 


International  Photocrapher  for  August,  1941 


"Here  Is  a  Man" 


RKO  Radio  Pictures 


Left  to  right:  James  Craig  and  Jane  Darwell  as  seen  in  the  roles  of  mother  and  son; 
Jane  Darwell  and  juvenile  Lindy  Wade;  Craig  plays  the  role  of  a  modern  Faust  in 
this  scene  with  Walter  Huston;  Edward  Arnold  as  Daniel  Wehster,  shown  delivering  his 
eloquent  oration  before  u  jury  of  long  dead  rogues. 


10 


Stills  by  Otto  Benninger 


44 


Mere  is  a 


MAN 


"Here  is  a  Man,"  RKO-Radio  release,  is 
the  final  title  for  "The  Devil  and  Daniel 
Webster,"  which  first  made  its  appearance 
as  a  short  story  in  the  Saturday  Evening 
Post. 

The  farm  of  Jabez  Stone  in  New  Hamp- 
shire  near  the    fictitious   village   of   Cross 

James  Craig  and  Anne  Shirley,  as 
the    young    farmer    and     his    wife. 

Corners,  is  the  background  for  much  of 
the  story,  which  transpires  during  the 
years  1840  to  1847.  Other  settings  include 
the  village,  the  tavern,  the  public  square, 
the  surrounding  countryside,  a  New  Eng- 
land church,  Webster's  famous  farm  at 
"Marshfield,"  the  pretentious  new  house 
that  the  wealthy  Jabez  builds  and  the 
Stone's  old  barn,  where  Jabez  signs  his 
pact  with  Mr.  Scratch  and  where,  the  stalls 
converted  into  a  jury  box,  Daniel  Webster 
pits  his  own  soul  and  his  oratory  against 
the  devil  to  save  the  soul  of  Jabez  Stone. 
The  story  is  about  a  debt-ridden  New 
England  farmer,  dogged  by  hard  luck, 
who  sells  his  soul  to  the  devil  for  seven 
years  of  prosperity.  Even  though  his  sud- 
den  wealth  changes  him  into  a  grasping, 

H.  B.  Warner,  as  the  judge,  in  this 
makeshift  courtroom  scene  in  which 
the  young  farmer  is  on  trial  for  his 
soul. 

domineering  character,  his  devoted  wife 
remains  loyal  to  him,  despite  his  neglect 
and  his  attentions  to  a  beautiful  stranger 
sent  by  the  devil  to  live  in  their  home. 
Belatedly,  the  farmer,  confronted  with  the 
consequences  of  his  pact,  relents  his  bar- 
gain and  enlists  the  aid  of  Daniel  Webster. 
The  matchless  orator  in  an  eloquent  speech 
before  a  jury  of  long  dead,  notorious 
American  rogues,  out-talks  the  devil  him- 
self and  saves  the  farmer's  soul  at  the  risk 
of  his  own. 

With  "Here  is  a  Man,"  William  Dieterle, 
long  recognized  as  one  of  the  industry's 
foremost  producers,  strikes  out  on  his  own 
as  Producer-Director  and  as  head  of  his 
own  company,  William  Dieterle  Produc- 
tions. 


Reconciliation  between  Jabez  Stone 
(James  Craig)  and  his  wife  (Anne 
Shirley)  is  brought  about  by  Daniel 
Webster    (Edward  Arnold). 


International  Photographer  for  August,  1941 


11 


The  City  of  Suva,  cross-roads  of  the  South  Seas. 


SOUTh  Of  ThE  EQUATOR 


Some  of  these  days  when  you  are  wan- 
dering around  down  in  the  vicinity  of 
the  International  date  line  and  just  a  little 
south  of  the  equator,  I'd  like  to  have  you 
drop  in  on  me  for  a  few  days'  visit — or 
make  it  a  week  or  a  few  months,  just  as 
you  wish,  but  anyhow,  I  think  you  will  like 
this  little  island  paradise  of  mine. 

The  upper  picture  on  pages  14  and  15 
I  Exhibit  "A")  will  give  you  an  idea  of 
your  first  glimpse  of  it  as  you  arrive  after 
a  50-mile  boat  trip  from  Suva,  a  trip  that 
will  hold  you  spellbound  every  foot  of  the 
way.  Casting  off  at  high  tide  from  the 
rock  wall  that  holds  back  the  sea  from  the 
Grand  Pacific  Hotel  on  three  sides,  you 
can  practically  step  from  your  room  into 
the  boat.  Slipping  out  to  the  inter-island 
boat  channel  that  runs  just  inside  the  bar- 
rier reef  you  may  see  the  surf  breaking 
mountain  high  with  a  terrifying  roar  on 
the  outside  as  you  glide  safely  along  on 
glassy  smooth  water.  For  a  few  miles  you 
circle  the  mainland  past  heavy  mangrove 
jungles  and  seemingly  endless  native  fish 
traps,  finally  swinging  up  the  Rewa  River. 

Here  is  one  of  the  places  where  the 
Colonials  as  well  as  the  natives  catch  their 
famed  food  delicacy,  "white  bait,"  the  tiny 
spawn  of  the  white  fish,  which  in  season 
may  be  seen  in  teeming  billions  along  the 
banks  of  the  Rewa.  Their  countless  num- 
bers literally  turn  the  water  white  along  the 
shore  and  they  can  be  dipped  up  by  buck- 
etsful.  The  tiny  fish  are  about  one-quarter 
of  an  inch  long  and  are  cooked  just  as 
they  come  from  the  water,  except  for  pos- 
sibl)  a  slight  rinsing,  and  when  mixed 
with  the  proper  batter  and  baked  or  fried 
are  just  about  the  best  sea  food  you  ever 


12 


tasted,  excepting  a  half  a  dozen  or  more 
others  I  might  mention  later. 

After  a  few  miles  you  turn  into  the 
Wainabocassi  (wine  a  bo  cassi )  a  river, 
the  likes  of  which  they  have  attempted  in 
many  a  jungle  film,  but  which  I  have  yet 
to  see  faithfully  reproduced.  Winding 
right  angle  turns,  U  turns,  S  turns  and 
after  miles  of  travel  you  find  you  are 
passing  on  the  opposite  side  of  the  same 
village  you  passed  hours  before.  In  fact, 
you  had  better  keep  pretty  close  to  the 
middle  of  the  stream,  for  if  you  go  off 
exploring  through  the  tangled  maze  of 
mangrove  roots  and  vines  under  which 
your  boat  will  easily  pass,  you  may  find 
yourself  hopelessly  lost.  Sliding  past  na- 
tive villages — a  studio  art  director's  dream 
come  true; — you  round  a  turn  to  see  a  mass 
of  vines  swinging  from  overhanging  cocoa- 
nut  trees  actually  loaded  down  with  beans 
six  feet  long — wow!  and  on  opening  a  pod 
you  find  the  beans  are  square — now  ain't 
that  sumpin!  Just  think  of  the  years  they 
have  been  trying  to  develop  square  peas! 

Just  about  the  time  the  stream  gets  so 
narrow  you  fear  you  have  lost  it,  you  pop 
around  a  bend  and  into  a  canal  dug  ages 
ago  by  the  cannibals  under  King  Thack- 
ambau,  the  fiercest  and  most  bloodthirsty 
cannibal  of  them  all.  Old  King  Thack 
used  to  send  his  men  out  to  hide  in  the 
coral  heads  along  the  reef  and  at  low  tide 
when  women  from  the  neighboring  villages 
came  out  to  gather  crabs  and  such,  the 
men  would  jump  out  and  bop  the  gals  on 
the  head,  which  meant  a  feast  and  lots  of 
bicarbonate  for  the  King. 

The  neighbors  got  sore  eventually  and 
laid   for  the  King's  men,  disguising  them- 


selves as  women.  They  made  it  so  hot  for 
the  King  and  his  gang  that  they  couldn't 
get  out  to  the  reef  any  more,  so  he  had  to 
dig  the  canal,  for  military  reasons,  you 
might  say,  and  as  an  outlet  to  new  hunt- 
ing grounds. 

The  canal  opens  out  to  sea  over  about 
two  miles  of  mud  flats  and  it  is  here  among 
the  scattered  mangroves  you  may  see  that 
marvel  of  marvels:  the  tree  climbing  fish! 
In  fact,  on  my  last  trip  to  Bali  and  the 
South  Seas,  I  stopped  off  here  on  the  way 
back  and  took  a  party  of  our  scientists  out 
to  this  spot  and  gathered  a  few  of  these 
fish  for  the  edification  of  our  fellow  pass- 
engers on  the  S.S.  Monterey  who  had 
scoffed  at  this  and  other  fantastic  tales  I 
had  told  them.  Needless  to  say,  during 
the  next  few  days  our  bath  tub  became  a 
Mecca  for  nearly  everyone  aboard  ship, 
including  the  passengers  and  crew. 

After  leaving  Thackambau's  canal  you 
will  head  out  to  sea  over  twelve  miles  of 
coral  lagoon  which  I  would  advise  you  to 
traverse  during  the  daylight  hours,  other- 
wise you  may  find  your  boat  impaled  on  a 
coral  spearhead  which  will  snap  off  when 
the  tide  goes,  leaving  you  stranded  in  fif- 
teen or  twenty  fathoms  of  nothing  under 
you  but  nice  clear  water  and  razor  sharp 
coral.  Of  course,  if  you  are  traversing  this 
stretch  in  an  out-rigger  canoe  with  a  na- 
tive pilot,  you  are  perfectly  safe  at  any 
time. 

Anyhow,  Exhibit  A  is  the  view  of  this 
little  paradise  as  you  approach  it  from 
the  mainland,  and  you  can  either  beach 
your  boat  on  the  quarter-mile  white  strand 
or  drop  anchor  in  deep  water  where  you 
(Continued  on  page  26) 


1.  New  "Positive"  Viewfinder 

Magnifies  rather  than  masks  .  .  .  with  any  lens,  fills  entire  finder 
aperture  with  large-size  upright  image  .  .  .  eliminates  eye  parallax. 

2.  New  Viewfinder  Turret 

Enables  Eyemo  user  to  select  matching  viewfinder  objective  unit 
with  same  speed  he  picks  lens.  Convenient.  Fast.  Accurate. 


WHEN  the  shots  come  fast  and 
various,  and  you  must  get  the 
picture  .  .  .  that's  when  you  most 
appreciate  the  versatile  Eyemo. 
For  it's  instantly  ready  to  meet  the 
emergency! 

What  will  you  have?  A  swift 
change  of  lenses?  .  .  .  conversion 
from  100-foot  film  capacity  to  200- 
or  400-foot  magazines?  ...  a  tripod 
mount  or  a  light,  easy-to-handle 
hand  camera?  ...  a  change  from 
electric  to  spring  or  hand  drive? 


...  a  silent  camera  or  a  hookup 
for  sound?  .  .  .  slow  motion  or 
silent  or  sound  speeds?  Whatever 
the  demand,  Eyemo  meets  it. 

Send  the  coupon  now,  and  get 
complete  details  on  this  unsur- 
passed portable  camera.  Do  it  to- 
day. Bell  &  Howell  Company,  1848 
Larchmont  Ave.,  Chicago;  30 
Rockefeller  Plaza,  New  York;  7  1 6 
North  LaBrea  Avenue, Hollywood; 
1221  G  St.,  N.  W.,  Washington, 
D.  C;  13-14  Great  Castle  St.,  Lon- 
don. Established  1907. 


New  viewfinder  turret 
serves  with  offset  turret,  as 
shown  above,  and  witO 
compact  camera  turret,  as 
shown  below,  right. 


EYEMO  can  be  equipped 
with  many  accessories  for 
studio  and  location  work, 
or  it  can  be  stripped  down 
to  a  light,  compact,  spring- 
driven  hand  camera. 


PRECISION-MADE    BY 


CONVERT  YOUR  EYEMO 

Eyemo  owners  may  convert  their  Eyemos 

to 

include  the  following  new  features  at 

very  moderate  cost.  Write  for  details. 

1 

New  "positive"  viewfinder 

2 

New  viewfinder  turret 

3 

New  flat  base— 21 2  in.  square 

4 

Locking  screws  to  lock  each  lens  in  focus 

5 

Turret  lock  for  Eyemos  with  offset  turret 

6 

Detachable  cord  for  electric-drive  models 

BELL  &  HOWELL  COMPANY  , 

1849  Larchmont  Ave.,  Chicago,  III. 

(   )  Send  details  about  new,  improved  Eyemos. 

I  own  Eyemo  Serial  No 

Am  interested  in  converting  it  to  include 


BELL    &    HOWELL 


Name .  . . 
Address . 
City 


.State. 


International  Photographer  for  August,  1941 


13 


JUST  SOUTH  OF  THE  EQUATOR  WITH  JAMES  B.  SHACKELFORD 


In   the   lagoon    approaching   the    island  *t« 


Looking  in  on  the  seaward  sidd 
dressed   up    for   a    photograph, 
around   him,   is   the  chief,   who! 
Thackambau.    (Exhihit  B). 


14 


fity  mile  trip  from  Suva.     (ExhibitA). 


I  island,  with  the  native  boys  all 
!  left,  facing  the  circle  of  boys 
|i  way,   is  the   grandson  of   King 


International  Photographer  for  August,  1941 


15 


It  isn  't  just  luck 
that  a  Cameraman 
prefers  a  . . . 

MITCHELL 

It's  because  he's 
sure  of  the  results 
he'll  get... 


MITCHELL   CAMERA 
CORPORATION 

665  NORTH   ROBERTSON   BLVD. 
WEST   HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO"  Phone  CR.   6-1051 


ACENCI ES 
Bell  &  Howell,  Ltd.,  London,  England 
Claud    C.     Carter,     Sydney,     Australia 


Motion  Picture  Camera  Supply  Co., 
New  York  City 
Fazalbhoy,  Ltd.,  Bombay,  India 
D.   Nagase  &  Co.,   Ltd.,  Osaka,   Japan  H.    Nassibian,    Cairo,    Egypt 


THE  DOUGLAS  B-19 

"Douglas  Airview"  calls  the  B-19  "A 
Flying  Laboratory  of  Aeronautical  Sci- 
ence." Elaborate  equipment  is  installed  to 
make  readings  at  literally  thousands  of 
pickup  points,  show  these  readings  on  in- 
struments assembled  on  special  panel- 
boards,  and  automatically  record  the  data 
by  means  of  still  photographs  taken  at 
regular  intervals  and  movie  cameras  oper- 
ating continuously  and  automatically  in 
front  of  the  panel-boards. 

"To  check  temperatures  and  pressures  of 
the  power  plants  and  their  accessories,  ther- 
mocouples at  various  locations  will  send 
impulses  along  miles  of  wire  and  tubing  to 
indicators  assembled  in  special  test  quar- 
ters. Through  an  individual  network  of 
wires,  gauges  scattered  through  the  air- 
plane will  provide  impulses  to  form  lines 
on  graphs,  instantaneously  recording  even 
the  slightest  stress  or  strain." 

The  figures  below  will  convey  an  idea  of 
the  magnitude  of  the  B-19  bomber: 

Designing  and  Building 

9000  drawings  required,  which  would 
cover  an  area  of  four  acres;  500  engineers, 
technicians  and  mechanics  employed  on 
craft;  700,000  hours  engineering  time;  42,- 
500  hours  research  and  testing  time; 
1,200,000  hours  shop  time;  4  years  from 
start  of  design  to  first  flight. 

Construction  Detail 

212  ft.  wing  spread;  132  ft.  fuselage 
length;  42  ft.  9  in.  overall  height  to  top  of 
rudder;  61  ft.  span  of  horizontal  stabilizer; 
8  ft.  diameter  of  main  landing  gear  wheels 
(4  ft.  6  in.  diameter  of  nose  wheel)  ;  2 
miles  of  control  cable;  10  miles  of  elec- 
trical wiring  (enclosed  in  conduits)  ; 
3,000,000  rivets;  4  Wright  Duplex-Cyclone 
engines,  each  generating  2000  horsepower; 
17  ft.  Hamilton-Standard  propellers;  140,- 
000  pounds — normal  gross  weight;  164,- 
000  pounds — alternate  gross  weight. 

Performance 

Speed — in  excess  of  200  m.p.h.;  landing 
speed  —  69  m.p.h.;  range — 7750  miles.; 
fuel  capacity — 11,000  gallons;  flight  crew 
— 10  men  (sleeping  accommodations  for 
8);  bomb  capacity — 18  tons;  total  load 
capacity — 28  tons. 

Spanish   Sound   Tracks 
for  Latin  America 

The  first  constructive  step  toward  satis- 
faction of  Latin  American  demands  on 
Hollywood  has  been  taken  by  Warner  Bros, 
with  the  announcement  of  a  new  policy  on 
films  shipped  to  other  nations  of  this 
hemisphere. 

The  policy  to  be  followed  on  features 
for  release  in  Central  and  South  America 
involves  recording  of  an  extra  set  of  sound 
track  in  Spanish  for  music  numbers  used 
in  pictures.  The  players  will  learn  pho- 
netic Spanish  in  order  to  render  songs  in 
comprehensible  fashion  south  of  the  bor- 
der. 


16 


Uncle  Sam's  B-19  Bomber 


NEWSREELERS  ON  THE 
JOB:  Left  to  right:  Officer  (un- 
known) ;  Carl  Jones,  sound, 
News  of  the  Day;  Arthur  de 
Titta,  Pacific  Coast  Supervisor, 
Fox  Movietone  News;  Dexter 
Alley,      assistant      cameraman, 


Universal  News;  S.  E.  Green- 
wald,  cameraman,  News  of  the 
Day;  Jack  McHenry,  camera- 
man, Universal  News,  San  Fran- 
cisco; Charles  Lehman,  sound, 
Fox  Movietone  News;  C.  J. 
Hubbell,  Pacific  Coast  Super- 
visor, News  of  the  Day. 


"SERQEAINT  yORk" 


"Sergeant  York"  was  filmed  on  123 
studio  sets,  and  on  eight  outdoor  locations 
one  of  which  was  an  80-acre  battlefield. 
Some  background  shots  also  were  made  in 
Tennessee. 

Largest  of  the  studio  sets  duplicated  a 
section  of  the  Valley  of  the  Three  Forks 
on  the  Wolf.  This  set  included  a  moun- 
tain built  on  a  revolving  base,  (see  May 
issue  of  International  Photographer) ,  a 
stream  200  feet  long,  a  stationery  peak 
and  a  large  expanse  of  wood  and  farm 
land.  It  was  dressed  with  121  real  trees, 
75  of  them  cedars,  the  remainder  pines 
and  oaks 

Weight  of  the  moving  mountain,  so  built 
in  order  to  provide  a  variety  of  camera 
angles  with  a  minimum  of  set-shifting  time, 
was  60  tons.  The  circular  base  of  the 
mountain  was  35  feet  in  diameter.  The 
peak  itself  rose  to  a  height  of  40  feet  above 
stage  floor  level. 

At  various  times,  three  different  cabin 
homes,  including  farm  out-buildings,  were 
accommodated  on  this  stage  setting.  Unit 
Art  Director  John  Hughes  and  Cameraman 
Sol  Polito  so  shifted  the  background  as  to 
give  each  its  individual  set. 

A  turkey  shoot,  staged  according  to 
Cumberland  mountain  rules,  with  contest- 
ants firing  muzzle-loading  long  rifles,  and 
a  fox  hunt  also  were  filmed  on  this  setting 
after  the  background  had  been  revamped. 
A  tame  raccoon  was  led  over  the  woodland 
trails  to  provide  live  scent  for  the  hounds 
which  participated  in  the  hunt. 

With  the  exception  of  Cooper,  the  pic- 
ture has  two  casts — one  the  Tennessee 
mountain  characters,  the  other  the  army 
and  public  life  characters. 

A  practical  target  range,  identical  with 
those  used  in  army  cantonments,  was  built 
at  Warner  Bros.'  ranch  for  rifle  practice 
scenes.  Thirty-one  targets  were  constructed. 

The  80-acre  battlefield,  largest  ever  pre- 
pared for  a  motion  picture  war,  was  located 
in  a  ridge-flanked  valley  in  the  Simi  hills, 
some  40  miles  from  Hollywood.  A  wreck- 
ing crew  of  300  men  worked  three  weeks 
transforming  a  barley  field  into  a  war- 
Masted  waste.  The  studio  paid  the  farmer 
the  price  of  a  bumper  crop  for  his  barley, 
added  a  flat  location  rental  and  the  pro- 
viso that  the  field  would  be  restored  to  its 
original  condition. 

Five  tons  of  dynamite  were  used  to  blast 
out  shell  craters.  Two  miles  of  sand- 
bagged zig-zagging  trench  lines  were  cut 
through  the  field.  Four  hundred  denuded 
tree  trunks  and  blasted  tree  stumps  were 
planted  in  the  scarred  ground.  Five  thous- 
and two  hundred  gallons  of  paint  were 
sprayed  on  ground  and  tree  stumps  to 
hlacken    ihem   to    wai -scorched   hue.    Three 


big  tractors  ripped  and  tore  the  earth  be- 
tween shell  craters. 

Each  day,  for  three  full  weeks  and  most 
of  a  fourth,  from  200  to  500  extras  were 
used  as  soldiers  in  the  battle  scenes.  Three 
thousand  four  hundred  powder  mines,  and 
380  aerial  bombs  were  exploded.  As  many 
as  139  mines  were  exploded  for  single 
camera  shots. 

Three  thousand  two  hundred  pounds  of 
black  powder  went  into  the  ground  mines, 
cascaded  a  total  of  four  tons  of  dry  color — 
bone  black  and  burnt  umber — as  high  as 
80  feet  into  the  air.  Never  before  in  the 
history  of  movie  warfare  was  there  such  a 
series  of  spectacular  barrages,  according 
to  Carl  Voss,  the  veteran  ex-army  regular 
and  professional  drill  sergeant  who  trained 
the  film  troops. 

An  average  crew  of  seventeen  powder 
men  worked  on  the  war  scenes.  On  the  day 
of  the  biggest  barrage  there  were  36  men 
in  the  powder  crew.  Six  miles  of  wire  con- 
nected the  powder  charges  with  electric 
control  firing  boards. 

Four  tons  of  smoke  composition  was 
used  to  create  the  murky  battle  haze. 
Thirty-seven  thousands  rounds  of  rifle  am- 


munition and  32,000  rounds  of  machine 
gun  ammunition  (blank  cartridges)  were 
fired,  upwards  of  5,000  machine  gun  ef- 
fects were  exploded. 

Six  thousands  seven  hundred  and  thirty- 
two  hot  lunches  were  served  to  the  "troops" 
on  the  battlefield. 

Sergeant  York's  exploit  of  killing  25 
German  machine  gunners  and  capturing 
132  prisoners  almost  single-handedly  was 
filmed  in  detail  as  the  climaxing  event  of 
the  battle  action.  During  filming  of  these 
scenes  some  2500  machine  gun  effects  were 
exploded  around  Cooper. 

Of  the  many  medals  awarded  York  for 
heroism,  three  were  conferred  upon  Cooper 
in  decoration  scenes.  They  were  the  French 
Medaille  Militaire,  the  American  Distin- 
guished Service  Cross  and  the  United  States 
Congressional  Medal  of  Honor,  presented 
by  actors  representing  Marshall  Foch, 
Major  General  George  B  Duncan  and 
General  Pershing,  respectively. 

The  Medal  of  Honor,  loaned  to  the  studio 
for  the  picture  by  the  United  States  govern- 
ment, was  sent  out  from  Washington,  D.  C, 
and  returned  immediately  after  the  decora- 
tion scenes  were  shot.  Some  day  a  future 
hero  will  wear  it  as  his  own. 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY  DETAIL 

Immediate  Delivery 


HOLLYWOOD   USERS   CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

•  SENSITESTER — For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


Cable  address:  ARTREEVES 
1515  Cahuenga  Blvd.  Hollywood,  California.  U.  S.  A. 


18 


. . .  ^<wnt<m  SPEED  GRAPHIC 


m 


Anniversary  SPEED  GRAPHIC 

For  all-purpose  picture-taking  day  or  night. 
Price,  3V4  x  4'/4  or  4  x  5  with  American-made 
Kodak  Ektar  1/4.1  lens,  $127  SO-  Down  pay- 
ment  through   your  Dealer  as  little   as   $26  OO. 

214x314   Miniature  SPEED  GRAPHIC 

Combines  maximum  versatility  with  economy 
and  compactness.  With  American-made  Kodak 
Ektar  1/4.5  lens  in  Supermatic  shutter, 
$119.50.  Down  payment  through  your  Dealer 
as   little  as   $24  50. 


This  dramatic  still  from  the  RKO-Radio  Picture,  "They  Met  In  Argen- 
tina"  is   reason  enough  why   Fred   Hendrickson,    RKO-Radio   pho- 
tographer, counts  on  Speed  Graphic  to  capture  fast  action. 

Pictures  like  this  demand  quick  focusing,  accurate  framing,  high  shut- 
ter speeds,  and  a  film  size  that  records  all  the  action  in  minute  detail. 
Because  Speed  Graphic  cameras  are  specially  designed  for  "freezing"  the 
fastest  action,  they  meet  all  these  requirements  and  more.  The  new  Anni- 
versary and  Miniature  models  are  the  ultimate  in  camera  versatility.  See 
them  at  your  Dealer's. 

When  in  New  York  City,  Rochester  or  Los  Angeles,  you  are  cordially 
invited  to  visit  the  Graflex  Display  Rooms  where  you  can  see  the  complete 
Graflex  line  and  discuss  your  equipment  problems  with  factory-trained 
technicians. 

Here  are  two  reference  books  that  any  photographer  will 
find  invaluable:  Graphic  Graflex  Photography  by  Wil- 
lard  D.  Morgan,  Henry  M.  Lester  and  20  other  experts; 
and  Photographic  Enlarging  by  Franklin  /.  Jordan, 
F.R.P.S.—$-t.OO  and  $2.30  respectively,  at  your  Dealer's. 

r  l»  K  V.  CA  1  ALLMj  !  For  further  information  concerning  Graflex  and  Speed 
Graphic  American-made,  Prize-Winning  Products,  get  the  Graflex  catalog.  It's 
free  at  your  Dealer's  or  it  may  be  obtained  from  Folmer  Graflex  Corporation, 
Department  IP-4,  Rochester,  New  York,  U.  S.  A. 


International  Photographer  for  August, 1941 


19 


l6MM.  depARTMENT 


"It's   Not   WHAT,    But    HOW    .    .    ." 

Shakespeare  struck  the  keynote  for  the 
amateur  movie  maker — and  camera  fans 
in  general — when  he  once  said  that  all  the 
world's  a  stage,  and  that  its  men  and 
women  are  merely  players.  And  anyone 
who  owns  a  camera  and  doesn't  realize 
the  full  scope  and  import  of  this  statement 
is  blind  to  a  wealth  of  material  and  merely 
groping  in  the  dark  when  he  looks  around 
in  vain  in  a  semi-bored  condition  for 
"something  worthwhile  to  shoot." 

Generally  speaking,  many  people  reach 
this  stage  of  looking  for  something  they 
never  seem  to  be  able  to  find  after  they 
have  satisfied  their  justifiable  but  never- 
theless childish  desire  to  just  run  film 
through  the  camera,  if  it  is  a  movie  cam- 
era, or  to  click  the  shutter,  if  it  is  a  still 
camera,  just  for  the  sake  of  running  the 
film  or  clicking  the  shutter.  To  the  neo- 
phyte there  is  a  singular  thrill  in  taking 
pictures  just  for  the  fun  of  operating  the 
camera  and  knowing  that  a  picture  is  being 
recorded  on  the  film.  What  he  shoots,  or 
how  he  shoots  it  matters  little  while  he 
is  still  in  this  state,  and  he  will  continue 
on  with  his  spree,  shooting  high,  wide  and 
handsome,  until  the  sobering  influence  of 
his  misdeeds  begins  staring  him  in  the  face 
on  the  screen !  For  a  while  even  these  have 
only  the  effect  of  whetting  his  appetite  for 
promiscuous  shooting,  but  it  isn't  very  long 
before  the  monotony  of  the  results  obtained 
takes  hold;  the  thrill  of  "just  shooting" 
has  worn  off,  and  he  begins  to  take  stock 
of  himself  and  his  camera. 

For  many  of  the  unimaginative,  their 
careers  as  amateur  cinematographers  or 
photographers,  end  here;  others  enter  that 
adolescent  stage  of  sophistication  and  ar- 
rive at  the  conclusion  that  they  are  above 
shooting  such  mundane  things  as  everyday 
life.  In  this  photographically  blase  manner 
they  are  constantly  looking  for  something 
they  never  seem  to  be  able  to  find.  Occa- 
sionally some  bit  of  subject  matter  will  pre- 
sent itself  to  them  as  being  "unusual,"  and 
if  they  have  managed  to  acquire  some  de- 
gree of  technical  proficiency  by  this  time 
and  get  an  interesting  picture  they  become 
tremendously  satisfied  with  themselves  and 
progress  to  the  stage  of  "intellectuals," 
which  is,  in  fact,  an  advanced  state  of 
adolescence  characterized  by  a  smugness 
and  narrow-mindedness  which  prevents  any 
real  progress  because  it  tends  to  blind  the 
individual  to  any  viewpoint  other  than  his 
own.  And  in  this  manner  they  continue 
groping  in  the  dark,  still  looking  for 
"something  worthwhile  to  shoot." 

Those  who  have  not  been  bogged  down 
by  "intellect"  and  have  grown  normally 
lli rough  the  adolescent  stage  eventually  be- 
come aware  of  the  fact  that  there  is  a 
wealth  of  material  with  which  to  work  all 
about  them.  Material  that  can  be  of  intense 
interest,  if  they  will  but  make  it  that  way. 
It    is   the    material    that    the    other    fellow 


would  pass  up  because  it  isn't  "unusual," 
"interesting,"  or  "photogenic"! 

The  point  we  are  trying  to  stress  is  that 
it  doesn't  matter  so  much  what  the  story 
of  a  motion  picture  happens  to  be  as  how 
it's  told.  Since  in  the  art  of  the  motion 
picture  it  is  the  camera  that  tells  the  story, 
it  resolves  itself  down  to  how  you  use  the 
camera — a  fact  neither  new  nor  startling, 
but  a  premise  in  direct  opposition  to  that 
held  by  so  many  who  are  looking  for 
"something  worthwhile  to  shoot." 

To  begin  with,  the  amateur  making  a 
motion  picture  must  recognize  one  basic 
fact:  he  must  think  of  the  entire  picture 
as  a  whole,  instead  of  individual  scenes  by 
themselves.  A  "scene"  can  be  said  to  bear 
the  same  relationship  to  the  entire  picture 
that  a  sentence  does  to  a  written  story. 
While  either  a  scene  or  a  sentence  in  itself 
may  be  something  of  great  beauty  or  in- 
terest, unless  it  says  something  which  ties 
in  with  the  other  scenes  or  sentences  to- 
ward the  development  of  the  story  as  a 
whole,  it  is  meaningless.  It  stands  to  reason, 
now,  that  some  scenes  (or  sentences)  must 
serve  as  a  "build-up"  for  those  which  will 
convey  the  main  point,  or  the  climax,  of 
the  story.  All  too  many  films  are  guilty  of 
an  impatience  to  reach  a  climax  (if  indeed 
they  can  be  said  to  have  such  singleness 
of  purpose! )  that  they  really  are  dull  and 
uninteresting.  It  is  these  scenes  that  de- 
velop the  theme  that  are  important  and 
must  be  handled  as  carefully  as  the  climax 
itself. 

The  greatest  interest  a  picture  can  have 
is  human  interest,  and  the  same  subject 
matter  can  be  treated  so  that  it  will  or 
will  not  have  human  interest.  We  may 
have  a  sequence  of  Johnny  out  playing 
baseball  with  the  rest  of  the  kids  after 
school.  He  had  been  specifically  told  that 
he  was  to  come  right  home,  that  there 
were  things  to  be  done  for  mother.  But 
Johnny  played  baseball  and  mother  had  to 
do  her  own  chores.  She  was  overburdened, 
cross  and  irritable.  Does  this  sound  pro- 
saic? It  is — in  fact  it's  something  that 
happens  every  day  to  many  mothers  and 
kids!  Hardly  a  subject  for  an  interesting 
picture  to  many  because  they  would  first 
photograph  mother  instructing  Johnny  to 
come  right  home  after  school  because 
there  was  work  to  be  done;  then  Johnny 
leaving  school,  becoming  interested  in  the 
baseball  game,  and  finally  an  irate  mother 
reprimanding  Johnny.  But — 

Picture  the  same  sequence  in  this 
manner: 

After  establishing  a  long  shot  of  the 
baseball  team  in  action,  we  cut  to  a  close 
up  of  little  Johnny  with  a  catcher's  mask 
much  too  large  for  his  small  head,  with 
an  intent,  eager,  absorbed  look  on  his  dirty 
face.  We  see  him  trying  to  keep  the  mask 
from  falling  completely  off  in  between  the 
times  that  the  ball  is  coming  his  way.  The 
"man"    at    bat     I  in    another    close-up)     is 


swinging  a  bat  almost  his  own  size.  Cutting 
to  a  medium  shot,  we  see  him  make  a  hit 
and  go  running  toward  first  base,  with  his 
dog  running  after  him.  He  stumbles  over 
the  dog,  is  tagged  out,  and  the  game  is 
over.  I  Using  a  coaster  wagon  for  a  dolly, 
we  get  a  "trucking  shot"  of  the  gang  on 
their  way  home.)  We  cut  to  a  close-up  of 
Johnny  in  motion,  animatedly  discussing 
the  game  with  the  rest  of  the  fellows.  An 
insert  of  the  dog  tagging  behind  them  will 
add  interest.  Once  in  the  house  (the  "gang" 
has  followed  Johnny  inside)  he  gets  his 
scolding  for  not  coming  directly  home.  We 
cut  to  a  close-up  of  mother  while  she  is 
scolding  Johnny,  and  we  see  her  stop 
short;  then  we  cut  to  a  close-up,  or  short 
scenes  of  close-ups  of  the  gang  with  all 
their  paraphernalia,  presenting  a  sight  so 
ludicrous  that  even  mother,  tired  though 
she  is,  see  the  humorous  side  of  it.  We 
cut  to  a  medium  shot  of  mother  as  she 
breaks  into  a  tired  laugh  and  gives  Johnny 
a  kiss,  which  leaves  her  with  a  big  splotch 
of  dirt  where  Johnny  touched  her.  The 
scene  fades  out  as  the  kids  run  outside 
again. 

The  people  you  live  and  work  with,  the 
places  you  pass  by  daily  with  no  more  than 
a  casual  glance,  can  be  made  very  interest- 
ing. But  it  is  up  to  you  to  make  them  so. 

FILTER  SIZES  CHANGED 

By  George  H.  Scheibe 

The  past  year  has  seen  quite  a  change 
in  filter  sizes,  due  to  changes  in  filter 
holders  and  the  distance  from  the  lens.  The 
filters  must  clear  the  magazines  and  in  this 
case  the  filters  must  be  several  inches  from 
the  lens  which  makes  the  filters  wider  and 
longer.  A  number  of  studios  have  made 
this  change  in  filter  sizes. 

During  the  past  few  months  I  have  filled 
orders  for  filters  in  the  following  sizes:  5V-> 
by  12  inches;  5%  by  14  inches;  2-11/16 
by  10  or  12  inches  and  3  by  10  or  12 
inches.  I  have  made  filters  22  inches  long 
in  varying  densities.  Some  start  with  clear 
glass  and  end  up  with  a  heavy  density; 
others  start  with  slight  diffusion  and  end 
up  heavy  or  mild.  These  are  made  in 
Diffusion  or  Fog. 

Another  filter  which  I  turned  out  re- 
cently was  3  by  18  inches;  heavy  fog  in 
the  center,  fading  out  to  clear  at  the  edges. 

Some  filters  are  made  to  fit  a  filter  holder 
which  rotates  and  has  three  openings  for 
filters,  using  three  filters  at  a  time  and  each 
at  a  different  angle.  In  some  cases  I  have 
made  a  filter  to  fit  a  filter  holder  which 
swings  from  horizontal  to  vertical  and 
this  holder  carries  the  larger  sizes,  as  men- 
tioned in  the  beginning. 

All  filters  are  made  in  varying  lengths, 
with  seemingly  no  limit  in  size  required. 
Also  I  have  made  graduated  filters  in  one, 
two  and  three  graduations  and  in  different 
colors.  There  are  many  graduated  filters 
that  can  be  made  to  suit   vour  work. 


20 


ri»'o2?0**o 


cnt   "  °*  «o  >,, 


<*£*«. 


USE 


•   «    from  which 
.  The  P-neer  -gagatp       ^     h 
National     Cat bo»    ^  Throughout 
grown,  was  ^d  m  ,         , 

fhe  intervemng  60  ye  and  deVelop 

bonS'  *?  Theen  Readily  improved  and 


MOTION  PICTURE  STUDIO  AND 
HIGH    INTENSITY    CARBONS 


NATIONAL    CARBON    COMPANY,    INC. 

Unit  of  Union  Carbide  and  Carbon  Corporation 


Carbon  Sales  Division,  Cleveland,  Ohio 

GENERAL  OFFICES 
30  East  42nd  Street,  New  York,  N.  Y. 

BRANCH  SALES  OFFICES 
New  York,  Pittsburgh,  Chicago,  Si.  Louis,  San  Francisco 


International  Photographer  for  August,  1941 


21 


TflflDflll 


The  Kodak  Medalist,  2M  by  31/j  camera  combining  in  one  compact, 
integrated  assembly,  the  convenience  of  roll  him,  with  easy  adapt- 
ability to  the  use  of  cut  sheet  film,  film  packs  and  plates,  and  the 
accuracy  and  operating   refinements  of  a  precision   miniature. 


Eastman  Announces  New 
2/4  by  3/4  Camera 

Eastman  announces  the  new  Kodak  Med- 
alist, 21/4  by  ?>y±  camera  combining  in  one 
compact,  integrated  assembly,  the  conveni- 
ence of  roll  film,  with  easy  adaptability  to 
the  use  of  cut  sheet  film,  film  packs  and 
plates,  and  the  operating  refinements  of  a 
precision  miniature. 

The  Medalist  is  designed  for  exceptional 
flexibility  of  performance  and  fast,  easy 
operation.  It  is  intended  to  appeal  to  news, 
commercial,  and  scientific  photographers 
who  must  produce  consistently  good  results 
— advanced  amateurs  and  pictorialists  who 
compete  on  the  basis  of  quality  and  camera 
enthusiasts  in  general,  who  want  fine  equip- 
ment. 

This  precision,  all-American-built  cam- 
era, produces  21/4  by  3Y±  images  on  620 
roll  film;  and  with  accessory  back  on  520 
lil in  packs  and  6.5  by  9  cm.  films  and 
plates. 

Its  100  mm.  f/3.5  Kodak  Ektar  Lens 
more  than  meets  the  present-day  needs  for 
a  fast,  highly  corrected  lens.  It  consists  of 
five  elements,  and  like  all  Ektar  lenses,  it 
i-  focused  as  a  unit.  All  interior  glass-air 
surfaces  are  treated  which,  together  with 
its  special  mount  and  shutter  surfaces,  re- 
duces inter  surface  reflections  to  a  mini- 
mum and  produces  negatives  with  more 
hiilliant    contrast,    and    full    color    Koda- 


22 


chrome  transparencies  with  greater  color 
purity.  Its  technical  characteristics  in- 
clude an  angle  of  coverage  of  54° — flat 
field  —  greatly  improved  color  correction 
longitudinally  and  exact  register  laterally 
— no  measurable  coma  or  linear  distortion 
— exceptional  light  transmission,  and  su- 
perior definition. 

The  shutter  is  a  special  model  of  Kodak 
Supermatic  No.  2.  It  is  of  the  gear-train 
retard,  presetting  type,  with  blades  of  spec- 
ial thin,  low-inertia  spring  steel;  base  plate 
and  all  gears  are  of  nickel  silver  or  stain- 
less steel.  It  has  eight  apertures  from  f/32 
to  f/3.5,  and  nine  speeds  ranging  from  1 
to  1/400  second,  plus  bulb.  It  also  has 
built-in,  delayed-exposure  mechanism,  cable 
release  socket  for  remote  control,  and 
Photoflash  synchronization.  Aperture  and 
shutter  scales  are  easily  visible  from  the 
operating  position  with  shutter  speed  scale 
divided  with  separate  indicators  for  high 
and  low  speeds. 

The  plunger-type  shutter  release,  located 
for  convenient  operation  by  the  forefinger 
of  the  right  hand,  trips  the  shutter  with  a 
smooth  positive  action. 

Time  exposures  are  easily  made  by 
swinging  to  the  user's  right  the  small  lever 
connected  to  a  collar  encircling  the  release 
plunger.  With  the  lever  in  this  position, 
and  the  shutter  set  on  "bulb,"  the  plunger 
release  remains  down  when  depressed,  and 


the  shutter  is  held  open  until  the  lever  is 
returned  to  its  normal  position.  After  each 
exposure  a  red  warning  signal  appears  in 
a  small  circular  window  located  just  back 
of  the  Depth  of  Field  Scale,  indicating  that 
the  shutter  is  not  cocked.  On  winding  the 
film  to  the  next  exposure  or  by  cocking 
the  shutter  manually  with  the  lever  pro- 
jecting from  the  base  of  the  viewfinder 
housing,  the  red  signal  disappears. 

The  Kodak  Medalist's  radically  new  lens 
support  meets  all  exacting  requirements 
for  critical  focusing  and  is  an  important 
advance  in  precision  camera  design. 

Built  into  the  top  of  Kodak  Medalist  is 
another  new  feature.  Coupled  to  operate 
with  the  focusing  tube  after  it  is  extended 
to  picture-taking  position,  a  distance  scale 
turns  to  show  the  focus  at  which  the  lens 
is  set.  The  depth  of  field  at  any  distance 
can  then  be  read  for  any  lens  aperture 
selected. 

Kodak  Medalist  has  a  split-field,  military 
type  range  finder  system  coupled  to  oper- 
ate automatically  with  the  lens. 

The  view  finder  is  designed  to  give  paral- 
lax correction  automatically  while  the 
range  finder  eyepiece  shows  the  central 
portion  of  the  subject  field  covered  by  the 
view  finder. 

When  Kodak  Medalist  is  loaded  with 
Kodak  Infra-Red  Film,  the  range  finder  is 
used  to  measure  accurately  the  subject  dis- 
tance. Then,  however,  because  infra-red 
light  focuses  at  a  different  plane  from  other 
light  rays,  correction  is  made  by  manually 
setting  the  distance  found  by  the  range 
finder  to  coincide  with  the  red  mark  ap- 
pearing on  the  dial. 

The  back  of  Kodak  Medalist  is  designed 
with  an  ingenious  combined  hinge  and 
latch  at  each  end.  Hence  the  back  can  be 
opened  either  to  the  right  or  to  the  left  or 
it  can  be  removed  entirely. 

Loading  is  made  extremely  easy  by  an- 
other new  feature.  There  are  no  spool 
centers  in  the  supply  spool  chamber.  The 
roll  of  film  is  merely  pressed  into  the 
spool  chamber,  the  two  flanges  of  the  spool 
riding  against  small  separate  rollers  at  each 
end  of  a  film  guide. 

An  automatic  measuring  device  working 
in  conjunction  with  the  film  winding  knob 
permits  only  sufficient  film  to  be  advanced 
for  each  exposure.  Turning  the  winding 
knob  to  advance  the  film  sets  the  shutter 
automatically. 

Double  exposures  cannot  be  made  unin- 
tentionally, for  once  the  shutter  has  been 
released  it  will  not  operate  again  until  the 
film  has  been  wound  into  position  for  the 
next  exposure,  simultaneously  setting  the 
shutter. 

The  Kodak  Medalist,  without  accessories 
is  priced  at  $165.00. 

(Continued  on  page  27) 


/  win  a  bet  from  Billie 
the  Script  Girl! 


"Cut,"  says  the  Director,  and  then  he  turns  to  me. 
"How  do  you  like  it?" 

"I'll  buy  it,"  I  say. 

"Okay,  print  it." 

Then  Billie  looks  up  and  says,  "I've  been  a  script  girl 
for  five  years  and  I've  never  seen  anybody  shoot  into 
a  weak  light  like  that  and  come  out  with  anything 
worth  printing." 

"Want  to  bet?"  I  ask  her. 

"One  steak  dinner,"  she  says. 

"It's  a  bet." 


Next  afternoon  we  see  the  rushes.  Billie  gasps.  The 
Director  gasps.  Even  I  gasp  .  .  .  and  everyone  wants 
to  know  how  we  ever  did  it. 

"I  shot  it  on  Agfa  Supreme,"  I  tell  them. 

And  I  win  the  bet  with  Billie! 

•    •    •    • 

Far  be  it  from  us  to  tell  you  how  and  when  to  use 
Agfa  Supreme.  Or  Agfa  Ultra-Speed.  Or  Agfa  Infra- 
Red.  This  is  just  a  reminder  that  these  Agfa  Films 
have  many  great  possibilities — with  the  help  of  your 
own  expert  touch!  Agfa  Ansco  Products.  Made  in 
Binghamton,  New  York,  U.  S.  A. 


HOLLYWOOD 

6424  Santa  Monica  Blvd.,  Tel.  Hollywood  2918 


International  Photographer  for  August,  1941 


AGFA  RAW  FILM  CORPORATION 

^ 


NEW  YORK 

245  West  55th  Street,  Tel.  Circle  7-6270 


23 


Introducing  Buddy  Longworth  of 
Warner  Bros',  crack  staff  of  still- 
men.  Long  reputed  to  be  one  of  the 
dafnest  of  Hollywood  bulb-squeez- 
ers, Buddy  is  crazy  like  a  fox.  His 
mirth-provoking  antics  are  all  in 
the  way  of  breaking  down  his  sub- 
jects' resistance  and  getting  them  to 
relax.  His  long  career  of  unusual 
angle  and  action  shots  stand  as  a 
proof  of  his  fine  abilities.  Here  he 
is  seen  in  a  series  of  pictures  taken 
by  his  comrade-in-arts,  Scotty  Wel- 
bourne.  Buddy  is  set  to  lens  the 
INavy  Blues  Sextet  from  Warner's 
production  "Navy  Blues."  Included 
in  the  cast  are  Ann  Sheridan,  Jack 
Oakie,  Martha  Raye,  Jack  Haley, 
Jackie  C.  Gleason  and  Herbert 
Anderson. 


Lunatic  Iensman 


In  the  Bag — Buddy's  got  the  shot  he  wants, 
yells  his  customary  "Thirty  Dollars,"  which 
signifies  the  subject's  on  the  negative.  Off  he 
starts,  while  a  stream  of  black  smoke  eman- 
ates from  his  antiquated  view-finder  camera. 


Removing  the  lens-board  in  search  of  the 
trouble,  Longworth  succeeds  only  in  becom- 
ing more  perplexed.  While  he  pretends  not 
to  know  what  might  have  caused  the  combus- 
tion, it's  quite  possible  that  it  is  one  of  his 
daffy  experiments,  this  time  probably  an  at- 
tempt to  get  more  light  on  his  negative. 


24 


ThE 


CAUSE 


The  Cause  of  the  Smoke, 
The  Navy  Blues  Sextet: 
Peggy  Diggins, 
Margarette  Chapman, 
Georgia  Carrol, 
Kay  Aldrieh, 
Loraine  Gettman, 
Claire  James. 


Ai\d  The  eFFect 


Throw  in  the  View  Cloth — Longworth  is  now 
convinced  that  he's  over-exposed  his  negative. 
That's  one  of  the  pleasant  things  about  work- 
ing with  Buddy,  take  it  from  a  publicity  man. 
He's  quick  to  admit  his  mistakes — especially 
when  confronted  with  overwhelming  proof. 


Ah  There!  He's  Done  It  Again — No  wonder 
Buddy  couldn't  keep  his  camera  under  con- 
trol. Next  time  he'll  know  enough  to  shoot 
this  sort  of  thing  under  water.  With  a  line-up 
like  Buddy  had  to  shoot  it's  hard  to  blame  a 
poor,  mechanical  camera.  We  feel  a  bit  hot 
under  the  collar  ourselves. 


International  Photographer  for  August,  1941 


25 


P  fl  T  £  n  T  s 

By  ROBERT  W.  FULWIDER,  Patent  Attorney,  Los  Angeles 


No.  2,243,892 — Camera  Supporting  Ped- 
estal.   Alda    V.   Bedford   and   Knut   J. 
Magnusson,  assignors  to  Radio  Corpora- 
tion   of   America.     Original    application 
November    5,    1936.     Divided    and   this 
applicaton  September  30,  1937.  3  claims. 
A  camera  dolly  mounted  on  wheels  which 
are    connected    together    with    a    sprocket 
chain,  and  which  has  a  foot  operated  cast- 
or adapted   to  lift   one  of  the   wheels   off 
the  floor. 

No.    2,244,170  —  Developing    Machine. 
Casimir    A.    Miketta    and    Anthony    G. 
Wise,  assignors  to  Loew's  Inc.    Applica- 
tion June  15,  1938.    3  claims. 
A  developing  machine  in  which  the  film  is 
frictionally   driven  by  rollers  of  different 
sizes  but  intermittently  rotating  at  the  same 
rate  so  as  to  impart  impulses  to  the  film. 
No.   2,244,313 — Cinematographic   Film 
Registration.   Wadsworth   E.  Pohl.  as- 
signor   to    Technicolor    Motion    Picture 
Corp.,  Los  Angeles.    Application  April 
17,  1940.    4  claims. 
The  method  of  registering  films  in  which 
the    sprocket    teeth    are    smaller    than    the 
sprocket    holes,    by    feeding    several    films 
onto   the  teeth   and   seating   corresponding 
edges  of  the  holes  against  the  sides  of  the 
teeth. 

No.    2,244,589  —  Photographic     Color 
Process.     Louis    Yanket,    Long    Island 
City,  N.  Y.    Application  Oct.  31,  1938. 
2  claims. 
A  color  process  in  which  an  emulsion  con- 
taining silver  chloride  and  silver  bromide 
is  developed  and  colored  and  resensitized 
in  a  bath  containing  soluble  chloride  and 
soluble   bromide    in    ratio   to   give  the    re- 
sensitized  portions  of  the  emulsion  the  same 
contrast  characteristics  as  it  originally  had. 
No.   2,244,905  —  Method   oe  Producing 
Multicolored  Relief  Pictures.    Jack 
Crawford,  New  York,  N.  Y.   Application 
August  24,  1938.    5  claims. 
The  method  of  producing  a  multi-colored 
picture  within   a   single  colloid   relief   im- 
age  which   comprises  treating  said   image 
throughout  with  a  dark  eye  adapted  to  sub- 
tract all  colors  from  white  light  and  which 
i-  removable  from  said  relief,  applying  to 
local  areas  of  said  relief,  respectively,  dif- 
ferent dyes  adapted  to  give  different  selec- 
tive subtractions  of  color  from  white  light 
and  adapted  gradually  to  replace  the  first- 
named  dye  in  said  image. 
No.  2,244,965     High  Speed  Film  Print- 
er.   Frederick   William  Roberts,  assign- 
or to   Warner   Bros.   Pictures,   Inc.    Ap- 
plication May  I,  L939.    23  claims. 
A   printer    which    has    a    pair    of    printing 
lamps  and   means  for  alternately  directing 


the  light  from  the  lamps  to  the  film  gate, 
with  film  operated  means  for  varying  the 
intensity    of    illumination    of    one    of    the 
lamps   when   the   light   beam   of   the   other 
of  the  lamps  is  directed  onto  the  film  gate. 
No.    2,245,218— Water-Soluble    Photo- 
graphic Coating.    Thomas  F.  Murray, 
Jr.,  and   William   0.  Kenyon,  assignors 
to  Eastman  Kodak  Company.    Applica- 
tion July  27,  1938.    8  claims. 
A   method   of  protecting  a   film   having   a 
gelatine  layer  which  can  be  softened  by  hot 
water  and  not  by  cold  water,  by  coating 
the    film    with    a    transparent    layer    of    a 
polyvinal   acetal  resin  soluble  in  water  at 
a  temperature  of  about  0°  C. 
No.     2,245,896  —  Picture     Projection 
Screen  and  Method  of  Making  the 
Same.    Bernard  M.  Bodde,  Hollywood, 
Calif.    Application   February   12,   1938. 
5  claims. 
A  method  of  making  a   projection  screen 
having   a  number  of  apertures  for  trans- 
mission   of   sound   waves,    by   spraying    a 
solution  of  a  transparent  plastic  on  a  ma- 
trix having  holes  therein,  and  stripping  the 
aperture  sheet  from  the  matrix. 
No.  2,246,013 — Color  Sound  Film.  Karl 
Schinzel,  Rochester,  N.  Y.,  and  Ludwig 
Schinzel,    Troppau,    Silesia;    said    Karl 
Schinzel    assignor    to     Eastman    Kodak 
Company.     Application   June   18,   1938. 
In  Austria  June  25,  1937.    2  claims. 
A  method  of  printing  a  sound  track  on  a 
multilayer  color  film  having  an  upper  layer 
of  soft  gelatine  containing  silver  chloride 
and  a  lower  layer  of  harder  gelatine  con- 
taining   silver    bromide,    a    picture    being 
printed,   developed,   and   fixed   in   the   soft 
emulsion,    and    a   sound   track   then    being 
printed  in  the  harder  emulsion. 
No.  2,246,093 — Projection  of  Pictures 
in  Colors.   Otto  C.  Gilmore,  assignor  to 
Cosmocolor    Corporation.      Application 
October  27,  1937.    20  claims. 
A    device   for   projecting   two    pictures   in 
superposition  from  a  film  having  the  pic- 
tures   in    side-by-side    relation,    the    device 
having  two  completely  separate  objective 
systems,  erecting  prisms  for  turning  both 
images  into  upright   positions,   and  baffles 
to  prevent  the  passage  of  stray  light. 
No.    2,246,997  —  Color    Photography. 
Hans  Kudar,  Germany.   Application  Oc- 
tober  27,   1939.     In   Germany   July   18, 
1935.    7  claims. 
A  method  of  producing  color  pictures  by 
exposing  through  a  two  color  filter,  a  len- 
ticular  film   having  two  superposed  emul- 
sions sensitized  for  complementary  colors 
and  developing  and  converting  the  images 
into  colored  positives. 


So.  of  Equator 

(Continued  from  page  12) 

see  our  two  boats  in  the  foreground.  Don't 
expect  to  see  the  beach  alive  with  naked 
natives  as  the  picture  shows,  for  these  were 
just  some  of  the  two  hundred  we  imported 
from  the  mainland  to  act  in  our  film.  And 
you  will  not  see  the  miracle  of  a  village  of 
thirty  huts  arise  out  of  the  virgin  jungle 
as  we  saw  it  the  day  we  brought  our  boys 
over,  for  within  two  hours  after  we  ar- 
rived, the  boys  had  set  up  and  completed 
this  village,  using  only  their  bare  hands 
and  the  materials  provided  by  nature  on 
the  island,  the  only  tools  being  a  small  ax 
or  two. 

Exhibit  "B"  shows  the  village  from  the 
beach. 

When  it  comes  to  food,  here  is  a  spot 
where  you  can  practically  get  your  living 
out  of  the  sea  and  jungle.  Fruits,  nuts 
and  even  potatoes  grow  wild  here,  and  the 
waters  teem  with  fish.  I  have  seen  a  dozen 
of  our  boys  go  out  around  where  our  two 
boats  are  anchored  and  catch  a  quarter  of 
a  ton  of  fish,  none  weighing  over  twelve 
pounds,  in  less  than  three  hours'  time. 

Two  miles  out  to  seaward  lies  the  barrier 
reef,  and  at  low  tide  you  can  safely  walk 
out  and  back,  gathering  along  the  way 
a  gunny  sack  full  of  crabs,  lobsters,  parrot 
fish  and  shell  fish  of  every  kind.  One  day 
some  of  our  boys  came  in  carrying  a 
giant  sea  turtle  that  easily  weighed  over  a 
thousand  pounds.  They  had  caught  him 
on  the  reef  at  low  tide,  where  he  had  be- 
come stranded. 

Out  around  the  barrier  reef  you  will 
see  the  really  big  fish,  from  whales  down 
to  thousand  pound  sharks,  manta  or  devil 
fish,  octopus,  five  foot  sting  rays  and 
swordfish;  and  speaking  of  swordfish — 
that  country  down  there  with  its  fifty  thou- 
sand islands,  islets  and  reefs,  is  a  natural 
for  swordfish,  and  somebody,  some  day, 
with  proper  tackle,  is  going  to  snag  the 
record  swordy  out  of  those  parts.  To  say 
nothing  of  color  pictures.  And  that  little 
wisp  of  smoke  you  see  curling  up  out  of 
the  cocoanut  trees  on  our  paradise  isle 
means  that  Willie  Lum,  the  Chinese  cook, 
is  working  on  another  dinner  of  baked 
king  fish,  lobster,  taro  and  yams  with 
some  nice  cool  cocoanut  milk  and  chilled 
papaya  for  a  chaser. 


Activity  at  Warner  Bros. 

Coincident  with  the  scheduling  of  thir- 
teen features  to  be  before  the  cameras  on 
July  1,  in  itself  a  record,  J.  L.  Warner  and 
Hal  B.  Wallis,  production  chiefs,  have  as- 
signed 54  writers  to  the  shaping  of  38 
screen  plays,  a  new  record  at  the  studio  for 
simultaneous  scripting  activity. 


26 


TRADEWINDS 

(Continued  from  page  22) 
Ed  Seymour  Publishes 
"Western  Family" 

Across  our  desk  this  morning  passed  the 
fourth  advance  copy  of  "Western  Family," 
a  magazine  being  given  away  by  eight  hun- 
dred independent  grocers  in  Southern  Cali- 
fornia, ft  is  well  worth  an  extra  walk  or 
drive  to  secure  a  copy.  Within  its  twenty- 
two  pages  are  tips  on  home  marketing, 
gardening,  some  excellent  recipes  and  other 
hints  for  the  homemaker,  as  well  as  one 
or  two  good  short  stories. 

Of  particular  interest  to  us  was  the  name 
of  the  publisher  on  the  masthead — Edgar 
Seymour,  formerly  advertising  manager  of 
Bardwell  &  McAlister. 

"Western  Family"  is  a  grand  little  maga- 
zine, Ed,  and  we  here  at  International 
Photographer  extend  greetings  to  you  and 
your  staff. 

Flat  Light  Screen  Moves 
to  New  Building 

Plas-Tex  Corporation  announces  the 
opening  of  its  new  plant  at  653  North 
Robertson  Boulevard,  Los  Angeles.  The 
new  telephone  number  is  BRadshaw  2-2757. 

Plas-Tex  is  one  of  the  largest  and  most 
modern  plants  specializing  in  the  custom 
molding  of  plastics.  It  has  its  own  com- 
pletely equipped  machine  and  die  shop. 

The  Flat  Light  Screen  division  of  Plas- 
Tex  Corporation  manufactures  all-plastic 
screens  for  process  photography  for  motion 
picture  studios,  and  for  commercial  photog- 
raphers. This  division  is  also  engaged  in 
the  manufacture  of  front  and  rear  projec- 
tion screens  for  motion  picture  theatres 
and  the  amateur  photographer. 

"Soundies"  Form  Distributing 
Company 

Recognizing  the  need  for  good  pictures 
and  varied  programs  for  motion  picture 
coin  machines,  three  far-sighted  producers 
have  consolidated  their  efforts  and  formed 
Associated  Producers  Distributing,  Inc. 
This  company  is  distributing  the  produc- 
tions of  Techni-Process,  Song-O-Graph  and 
Featurettes.  The  officers  are  Harold  N.  Ray- 
mond, President ;  Mario  Castegnaro,  First 
Vice  President;  Peter  Ratoff,  Second  Vice 
President:  Louis  Herscher.  Third  Vice 
President;  Gladys  Leavitt,  Secretary  and 
Mrs.  Mario  Castegnaro,  Treasurer. 

Realizing  that  the  programs  must  have 
varied  entertainment  and  knowing  that  each 
producer  has  his  own  style,  which  is  easily 
recognized,  it  was  decided  to  combine  the 
productions  of  the  three  producers  thereby 
assuring  the  operators  of  a  well-balanced, 
entertaining  program.  This  is  particularly 
important  as  long  as  the  machines  do  not 
have  selectivity. 

In  forming  this  combine  of  producers, 
the  distributors  and  operators  are  assured 
of  more  product. 

Three   programs  have   already  been  re- 


leased. Featurettes,  of  which  Mr.  Raymond 
is  President,  is  preparing  to  shoot  ten  num- 
bers at  the  end  of  the  month.  Technipro- 
cess,  of  which  Mr.  Castegnaro  is  President 
will  follow  these  productions  with  ten  more. 
To  date  the  Associated  Producers  Dis- 
tributing, Inc.,  has  been  in  contact  with 
and  sold  prints  to  the  box  manufacturers 
over  the  country.  Mr.  Castenaro  and  Mr. 
Ratoff  are  now  on  an  extended  trip  visit- 
ing distributors  and  operators  in  different 
states.  It  is  their  intention  to  find  out  what 
the  public  wants  and  to  make  pictures  that 
will  be  entertaining  to  the  customers  and 
profitable  to  the  operators. 

New  G.  E.  Photoflash  Lamp 

General  Electric's  lamp  department  at 
Nela  Park  has  just  announced  a  new 
synchro-press  lamp  called  G-E  Mazda 
photoflash  lamp  No.  11  to  replace  its  pres- 
ent No.  11 A  lamp.  The  new  No.  11  flash 
bulb,  employing  shredded  foil,  is  designed 
to  have  approximately  50  per  cent  greater 
light  output  than  that  of  the  foil-filled  No. 
11 A  lamp.  Lumen  seconds  of  the  present 
lamp  are  18,000  to  22,000,  of  the  new  No. 
11  are  28,000  to  32,000.  Peak  lumens  of 
the  No.  11  are  two  million,  of  the  No.  11 A 
lamp  are  2.4  million. 

Changes  in  the  ratings  of  other  units  in 
the  G-E  Mazda  Photolamp  line  are  as  fol- 
lows : 

Old  Values 
Type     Peak  hum.    Lumen  Seconds 

SM  500,000       2.500-     3,000 

No.    5    1,200,000     16,000-  18.000 
No.  50  5,500,000  100,000-120,000 

New  Values 
Peak  Lumens  Lumen  Seconds 
700,000        4,500-     5,000 
1,200,000      17,000-  19,000 
6,000.000    110,000-125,000 
The  Nela  Park  photolamp  experts  point 
out  that  these  changes  should  lead  to  even 
clearer  pictures  and  easier  synchronization, 
in  the  cases  of  lamps  affected,  than  here- 
tofore. 


S.M.P.E.  Honors  Albert  S.  Howell 

In  electing  Albert  S.  Howell  to  Honorary 
Membership,  the  Society  of  Motion  Picture 
Engineers  has  given  signal  honor  to  one  of 
the  outstanding  pioneers  of  the  industry. 
Mr.  Howell  is  one  of  the  founders  of  the 
Bell  &  Howell  Company,  a  name  known  to 
the  professional  and  amateur  industries 
alike,  since  their  very  inceptions,  and  this 
recognition  by  the  S.  M.  P.  E.  crowns  a 
long  career  of  invention  and  research. 


GOERZ 

KINO-HYPAR 
LF.NSES 

t       f:2.7  atul  f:3 


1 


for     regular     and     color 

movies  of  surprising 

quality.   High   chromatic 

correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  f 

in    suitable    focusing    mounts    to    Amateur 

Professional  Movie  Cameras. 


itted 
and 


GOERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


GOERZ    Parallax-Free    FOCUSER  I 

and    FIELD    FINDER    CONTROL  , 

for   Filmo    121    and   Simplex-Pockette,    no    more 
off-center  pictures,  magnifies  4  and   8x. 
For    Detailed    Information    Address 

Dept.  IP  fl  5 

C.  P.  Goerz  American  Optical  Co.  ; 

317    East   34th   St.,   New   York  ( 

American    Lens    Makers    Since     1899 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 


DAY- 


-PHONES- 


-NIGHT 


NEW  ADDRESS 

Hillside       6373  De  Longpre  Aye      HEmpstead 

8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


International  Photographer  for  August.  1941 


27 


ThEy  SAy" 


By  BELLA 


Captain  Guy  Newhard,  United  States  Army  Air  Corps, 
bidding  good-bye  to  Vern  Walker  at  RKO.  Guy  will 
be  stationed   at   Wright  Field,   Dayton,  Ohio. 


•  Eric  Mayell,  Fox  Movietone  newsreel 
cameraman,  who  spent  over  three  years  in 
China  photographing  an  endless  war, 
visited  Hollywood  last  week.  Speaking 
through  International  Photographer  for  his 
first  informal  interview,  Mayell  says  that 
the  people  of  a  nation  banded  together, 
determined  to  protect  the  flag  and  the 
country  for  which  it  stands,  can  never  lose. 
With  this  slogan  Mayell  seems  convinced 
that  democracies  will  prevail  and  right  fly 
when  might  has  been  destroyed. 

•  Off  to  Canada  and  parts  thereof  to  film 
"Captain  of  the  Clouds."  First  Camera- 
men: Sol  Polito,  Will  Cline,  Elmer  Dyer, 
Charles  Marshall,  Winton  Hoch.  Second 
Cameraman:  Al  Greene.  Technicians:  A. 
J.  Callahan,  Paul  Uhl  and  George  Dye. 
Assistants:  Eddie  Wade,  Rod  Tolmie,  Kay 
Norton,  and  Alfred  Baalas.  Loader:  Gene 
Polito.    Still   Cameraman:   Mac  Julian. 

•  On  "Reap  The  Wild  Wind,"  extrava- 
gant Paramount  production,  talk  seems  to 
be  going  around  that  men  working  on  the 
boom  shots  ought  to  get  mileage,  consider- 
ing all  the  travelling  they  do. 

•  Members  of  659  extend  their  deepest 
sympathy  to  the  family  of  Al  Roberts. 

•  Members  of  659  likewise  extend  their 
deepest  sympathy  to  Mildred  Hinehart  in 
the  loss  of  her  dear  mother. 

•  Ray  Rennahan  is  a  native  son,  birth- 
place being  San   Bernardino. 


•  Stanley  Cortez,  cameraman  on  Univer- 
sal's  "Badlands  of  Dakota"  has  added  a 
device  to  the  production  company's  camera 
car  which,  in  the  first  day  of  its  use,  saved 
an  estimated  $500  in  time. 

The  device  consists  of  a  microphone  and 
loudspeaker  (and  earphones)  through 
which  the  cameraman  can  give  instructions 
as  to  speed  to  the  driver  of  the  camera 
car.  This  enables  the  cameras  to  hold  the 
subjects  within  their  range  while  the  car 
is  proceeding  at  rapid  speed,  hitherto  very 
difficult  to  achieve  in  scenes  where  the  cam- 
era car  is  ahead  of  the  players,  as  the  driver 
cannot  see  the  action. 

Cortez's  device  enables  him  to  give  the 
driver  precise  instructions,  in  a  whisper 
when  sound  is  being  recorded,  or  loud 
enough  to  be  heard  over  the  noise  when  a 
"chase"  scene  is  being  filmed.  Heretofore 
what  orders  were  given  either  interfered 
with  the  dialogue,  or  were  unheard  because 
of  the  din  of  the  scene. 

©  Bob  Connel  in  town,  using  Bud  Hooper 
and  Van  Runkel  on  16  mm  work  for 
Denver  &  Rio  Grande  Railroad. 

•  Archie  Stout  and  Eddie  Garvin  on  loca- 
tion in  Baton  Rouge,  Louisiana,  for  Sam- 
uel Goldwyn   productions. 

•  Guy  Newhard  now  Captain  in  the 
United  States  Army  Air  Corps  stationed 
at  Wrigbt  Field,  Dayton,  Ohio. 


9  John  Mescall  enjoying  a  splendid  suc- 
cess at  Paramount  Studios.  His  picture, 
"The  Night  of  January  16th,"  should  be 
watched    for   some  excellent   photography. 

©  Sol  Halprin,  first  cameraman  at  Fox 
Studio,  can  really  boast  of  permanency  on 
a  job.  With  Fox  for  over  22  years  and 
going  stronger  than  ever. 

©  Members  of  Local  659  extend  their 
deepest  sympathy  to  the  family  and  friends 
of  Otto  Kanturek,  who  was  shot  down  in 
England  recently  during  the  filming  of  an 
actual  dog  fight,  scenes  of  which  were  to 
be  used  in  the  Fox  production,  "A  Yank 
in  the  R.  A.  F." 

•  Everyone  is  glad  to  see  Eddie  Adams 
back  on  the  job. 

®  Here's  hoping  that  Milton  Brown  like- 
wise gets  back  shortly. 

©  Frank  Lowery,  of  San  Francisco,  is 
down  here  and  happv  to  be  working  with 
the  boys  of  Los  Angeles. 

®  Charles  Van  Enger  shooting  the  W.  C. 
Fields'  picture  at  Universal. 

•  Harry  Hallenberger,  black  and  white 
cameraman  on  "Louisiana  Purchase,"  Par- 
amount Production. 

•  Willard  Vanderveer  driving  a  new 
Pathe  News  camera  car. 


Motion  Picture  Equipment 
Goes  to  Russia 

Among  other  large  shipments  of  motion 
picture  equipment  to  Russia,  George 
Scheibe  reports  filling  an  order  for  sev- 
eral hundred  Scheibe  Filters. 


CLASSIFIED 

WANTED  TO  BUY  FOR  CASH  EYEMO 
CAMERA.  Box  L-64,  International  Photo- 
grapher,   6461    Sunset    Blvd.,    Hollywood. 

RABY  STUDIO  EQUIPMENT  CO.  BLIMP  for 
Mitchell  N.  C.  or  Standard  camera.  In  like  new 
condition,  complete  ;  reasonable.  Write  or  wire  for 
details. 

CAMERA  EQUIPMENT  COMPANY 

lfiOO   Broadway.   New   York   City 

Telephone:    Circle   5-6080  Cable:    Cinequip 

BELL  &  HOWELL  SILENT  PRINTERS  CONVERT- 
ED    INTO     5     WAY     SOUND     PRINTERS     AND 
COMPLETELY    MODERNIZED.      Ask    for    details. 
CAMERA   EQUIPMENT  COMPANY 
1600   Broadway,   New  York   City 
Telephone:    Circle   5-6080  Cable:    Cinequip 

WANTED   TO    BUY   FOR  CASH 

CAMERAS   AND   ACCESSORIES 
MITCHELL.    B.    &    H.,    EYEMO,    DEBRIE, 

AKELEY 

ALSO   LABORATORY   AND   CUTTING 

ROOM  EQUIPMENT 

CAMERA  EQUIPMENT  COMPANY 

1600  Broadway  New  York  City 

Tel.    Circle   6-5080— Cable :    CINEQUIP 

FOR  SALE:  BELL  &  HOWELL  standard  35mm 
camera,  silenced  I  type  shuttle,  35mm,  50mm  and 
75mm  F  2  Cooke  lenses,  Mitchell  upright  finder, 
Mitchell  free  head  tripod,  two  1000  ft.  magazines, 
six  400  ft.  magazines.  Matt  box.  Camera  equipped 
with  complete  single  system  sound  operating  from 
portable  twelve  volt  storage  battery.  Best  cash  offer 
or  trade  on  71-M   Eyemo.     Box  M-19. 

FOR  SALE:  LIKE  NEW  AKELEY  CAMERA  and 
tripod,  complete  with  Mitchell  legs,  2-in.  Kino  Plas- 
mat  F:1.5  lens  in  Mitchell  focusing  mount,  5  mag- 
azines and  case,  accessory  case,  camera  case,  Goerz 
Iris  and  matte  box  complete,  inside  filter  holder 
with  filter  and  gauzes,  roller  plate  gate.  Make  offer. 
Box    S-20. 


28 


Convenient  To  Use- 


K, 


ECONOMICAL  TO  BUY 


►ODAK  Prepared  Developer  Powders  are  convenient  to  use 
—need  only  to  be  dissolved  in  the  required  volume  of  water  to 
be  ready  for  use. 

They  are  economical — one  saves  time  in  preparing  developers 
—can  dispense  with  stocks  of  individual  chemicals,  avoiding 
waste  and  deterioration. 

They  are  dependable — are  made  from  pure  Kodak  Tested 
Chemicals,  are  accurately  weighed,  compounded,  packed  in  tin 
or  glass,  and  are  always  fresh.  Use  Kodak  Prepared  Developer 
Powders  for  the  best  possible  processing  results.  Eastman  Kodak 
Co.,  Rochester,  N.  Y. 


Specify 

KODAK 


TESTED    CHEMICALS 


The  Hollywood  Reporter 
Preview  Poll 

For  June — 

BEST  PHOTOGRAPHY 

By  popular  vote  of  The  Critics  — 

"Blossoms  In  The  Dust" 

The  MetrO'Qoldwyri'Mayer  Production 

in 

TECHNICOLOR 

Photographed  By 

KARL  FREUND,  A.S.C. 

DIRECTOR  OF  PHOTOGRAPHY 

and 

W.  HOWARD  GREENE,  A.S.C. 


FOR  TECHNICOLOR 


KARL    FREUND.    AS  C. 


W.    HOWARD    GREENE     A  S  C 


EASTMAN  FILMS 

BRULATOUR  SERVICE 


SepTEivibER,  1941 


25  CENTS 


DU  PONT 

PANCHROMATIC 

NEGATIVES 


Three -some  for  superior  results 

Superior- 1   Type  104 

A  fine  grain  film  for  background  negatives  and  general 
exterior  use.  Its  crisp  definition  is  of  especial  advantage 
for   scenes    to    be   printed   on   fine    grain  positive  stock. 

Superior-2   Type  126 

An  all-purpose  studio  negative  which  also  has  been  used 
successfully  on  exterior,  news  and  industrial  assignments. 
It  combines  high  speed,  fine  grain  size,  good  tonal  gradation 
and  a  well-balanced  color  response. 

Superior- 3   Type  127 

Extra  fast  for  subjects  with  adverse  lighting.  Speed  con- 
sidered, this  film  is  remarkably  fine  grained.  The  de- 
veloped contrast  is  controllable  so  that  scenes  may  be  cut 
in  readily  with  regular  studio  negatives. 


ffiE 


DU  PONT  FILM  MANUFACTURING  CORP. 
SMITH  &.  ALLER,  LTD. 


NEW  YORK,  N.  Y. 
HOLLYWOOD,  CALIF. 


BETTER  THINGS  for  BETTER   LIVING   through   CHEMISTRY 


Vol.  XIII 


International 
phoToqRAphER 

September,  1941 
LEADING  ARTICLES  IN  THIS  ISSUE 


No.    8 


George  Hurrell,  An  Interview — Page  3 

On  Location  in  Havana,  Imus — Page  6 

Hollywood  to  Chungking — Page  13 

Sweet  Selling,  Riddel — Page  18 

Cameraman  in  National  Defense  Work,  Draper — Page  27 

PICTORIAL  FEATURES 

"Daughter  of  the  Sun,"  Mortensen — Page  2 

Rita  Hayworth  and  Joan  Crawford,  Hurrell — Pages  4  and  5 

Carmen  Miranda,  Schoenbaum — Page  9 

Charlie  McCarthy  as  Cameraman,  Kahle — Pages  10  and  11 

"Under  Fiesta  Stars,"  Hommel — Page  12 

"Harmon  of  Michigan,"  Paul — Pages  14  and  15 

REGULAR  DEPARTMENTS 

Television,  Lubcke — Page  17 
16  mm  Department — Page  20 
Tradewinds — Page  22 
Patents,  Fulwider — Page  24 
Books,  Bachrach — Page  26 
They  Say,  Rella — Page  28 


Editor,  Herbert  Aller 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 

Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 
Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 
George  Scheibe. 

Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho- 
tographers, Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.   (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


8ROWN-CAIDWEU 


On  the  Cover 

Tom  Harmon,  who  earned  millions  of 
fans  while  winning  All- American  honors, 
goes  skyward  as  he  "boots  a  long  one" 
during  filming  of  Columbia's  "Harmon  of 
Michigan." 


Efficient  Courteous 

Service 

m 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

■ 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


G0ERZ 

KINO-HYPAR 
LF.NSES 

(       f:2.7  and  f:3 

i  for  regular  and  color 
movies  of  surprising 
qualify.  High  chromatic 
correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 
in  suitable  focusing  mounts  to  Amateur  and 
Professional  Movie  Cameras. 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


COERZ    Parallax-Free   FOCUSER 
and    FIELD    FINDER    CONTROL 

for  Filmo    121    and   Simplex -Pockette,    no   more 
off-center  pictures,  magnifies  4  and  8x. 
For   Detailed   Information    Address 
Dept.  IP  9 

;    C.  P.  Coerz  American  Optical  Co. 

{  317    East  34th  St.,   New  York 

American    Lens    Makers    Since     1899 


International  Photographer  for  Septem ber,  1941 


'Daughter  of  the  Sun" 


By  William  Mortensen 


qEORQE  htRRcli 


An  interview  with  one  of  the  motion  pic- 
ture's  foremost   portrait    photographers 


Perhaps  the  unusual  effects  in  HurrelVs 
photographs  may  be  attributed  to  the  fact 
that  he  started  as  an  artist,  having  studied 
painting  and  drawing  at  Chicago  Art  Insti- 
tute and  Academy  of  Fine  Arts. 

In  1925  he  came  to  California  with  Edgar 
Alwyn  Payne,  the  landscape  painter,  and 
established  a  studio  at  Laguna  Beach,  where 
his  contact  with  the  many  artists  in  that 
colony  proved  to  be  a  fine  influence. 

He  became  interested  in  photography, 
and  as  he  delved  further  into  it  he  began 
to  find  it  more  exciting  than  painting.  He 
started  devoting  more  and  more  time  to  it 
by  putting  in  some  actual  groundwork  at 
different  studios.  At  last,  satisfied  that  he 
had  the  ability  to  go  ahead  as  a  photogra- 
pher, Hurrell  opened  a  small  studio  in  Los 
Angeles  and  soon  after  many  a  motion  pic- 
ture star  followed  the  lead  of  Ramon  Na- 
varro, who  had  been  his  first  subject. 

MGM  Studios  became  interested  in  his 
ivork  and  persuaded  him  to  close  his  studio 
and  move  over  to  their  gallery.  He  re- 
mained there  three  years. 

About  this  time  Hurrell  decided  that  he 
would  again  like  an  establishment  of  his 
own,  so  he  opened  a  studio  in  Hollywood, 
where  he  has  since  been  photographing  for 
the  studios  on  special  assignment.  His  effi- 
ciency in  emphasizing  in  his  photographs 
the  dramatic  ability  of  his  subjects  is  well 
known. 

The  other  day  when  Hurrell  dropped 
into  the  office  we  stopped  him  for  a  few 
minute's  interview,  which  is  included  in  the 
text  that  follows.  Hurrell  is  a  practical 
sort  of  fellow  and  does  not  lay  claim  to 
''having  a  rabbit  up  his  sleeve.'"  He  can't 
give  any  rules  and  regulations  about  ob- 
taining good  portraits,  because  he  feels 
rules  are  a  handicap. 

Hurrell  is  almost  ready  to  open  his  new 
studios  at  333  No.  Rodeo  Drive,  Beverly 
Hills,  California.  He  invites  any  of  the 
members  of  659  to  call  and  says  they  will 
find  a  cordial  welcome. 


In  this  business  too  little  consideration  is 
given  to  the  making  of  prints  and  printing 
is  treated  too  lightly.  It  should  be  given  the 
most  serious  consideration.  Take  the  two 
photographs  being  used  in  this  issue  (see 
pages  4  and  5 ) ,  if  they  had  been  sent  to 
any  laboratory  they  would  not  have  had 
the  roundness  we  see  in  these  prints.  The 
men  in  these  laboratories  understand  their 
business  and  are  skilled  craftsmen,  but 
they  don't  have  the  time  to  use  their  im- 
agination and  visualize  just  what  the  pho- 


tographer tries  to  convey.  It  is  too  bad 
that  the  photographer  cannot  carry  straight 
through  and  make  the  prints,  but  from  a 
production  point  of  view  this  would  be  im- 
possible. If  it  could  be  done  the  photogra- 
pher would  be  able  to  accomplish  what  he 
started  out  to  do. 

Tone  quality  is  produced  by  balance  in 
lighting  and  exposing  the  negative  to  get 
that  balance.  A  photograph  technically 
may  be  over  or  under-exposed.  That  of  Rita 
Hayworth,  for  instance,  is  under-exposed, 
or  would  be  considered  so  if  coming  out  of 
a  lab.  Then  it  is  largely  in  the  printing 
that  we  get  the  half-tones.  To  get  these  it 
is  necessary  to  think  of  them  and  work  for 
them. 

In  the  studio  lab  the  idea  is  to  send  out 
prints  as  light  as  possible  for  reproduction 
in  newspapers,  with  little  or  no  thought 
being  given  to  their  production  in  maga- 
zines. Therefore,  the  quality  is  not  right 
for  the  magazines.  Unfortunately  prints 
cannot  be  made  for  the  particular  place 
where  they  are  to  be  used.  If  this  could 
be  done  much  better  results  would  be  ob- 
tained. 

I  do  not  have  any  rules  for  making  pic- 
tures and  have  never  stopped  to  consider 
them.  I  just  like  certain  kinds  of  lighting 
effects  and  go  about  getting  them  as  I  go 
along.  I  have  always  been  fond  of  black 
areas  because  they  seem  to  give  composition 
and  design  in  the  print  and,  while  blacks 
are  taboo  in  newspaper  work,  there  are 
still  many  cases  where  black  areas  will  pro- 
duce brilliant  effects,  so  I  use  black  back- 
grounds and  shadows  and  I  think  of  design 
and  composition  more  than  anything  else 
as  I  work. 

I  never  try  to  pose  a  person,  but  let  the 
subject  act  normal.  If  a  photographer 
starts  posing  his  subjects  he  is  apt  to  get 
them  in  position  they  are  not  familiar  with, 
as  everyone  has  a  different  way  of  standing, 
sitting,  leaning,  etc.,  and  cannot  be  told  to 
do  it  differently  without  an  awkward  effect. 
I  try  to  get  a  person  to  do  whatever  he  or 
she  would  do  to  suit  the  mood  of  the 
clothes  being  worn,  clothes  having  as  much 
to  do  as  anything  else  with  the  mood  of 
the  sitter.  In  sport  clothes  the  mood  might 
be  to  recline,  while  in  formal  dress  such 
a  thing  would  not  be  thought  of.  Here 
again  I  avoid  rules.  If  I  started  to  analyze 
too  much  what  I  do  and  why  I  do  it,  it 
would  handicap  me  and  might  result  in  pic- 
tures being  too  much  alike,  which  I  try 
to  avoid.  By  depending  entirely  upon  my 
mood  and  my  reaction  at  the  time  and  a 
few  gags  to  get  me  started  I  get  more  per- 


sonality into  the  picture  and  composition 
and  technique  seem  to  be  automatic. 

After  a  long  period  you  instinctively  do 
form  some  ideas  as  to  certain  lighting  ef- 
fects for  certain  results  and  try  to  have 
these  ready  when  the  sitter  arrives,  because 
in  the  picture  business  we  have  to  work  so 
speedily.  Where  it  is  a  question  of  speed, 
everything  else  must  be  subjected  to  it,  but 
I  find  by  careful  planning  beforehand  we 
get  some  pretty  good  pictures. 

It  is  unfortunate  that  so  much  haste  is 
necessary  in  our  particular  work.  We  are 
expected  to  shoot  half  a  dozen  pictures  in 
about  three  seconds  and  then  if  they  are  not 
good,  or  as  good  as  the  sitter  expected,  we 
are  to  blame  for  not  doing  a  good  job, 
where  in  reality  the  pictures  would  have 
been  what  the  sitter  expected  if  he  or  she 
could  have  given  us  a  second  or  two  more. 
But  working  fast  is  part  of  the  requirements 
of  our  job.  The  shot  of  Rita  Hayworth  was 
made  very  hastily  at  the  end  of  a  com- 
mercial job  for  Auto-Lite  Spark  Plugs. 
I  made  half  a  dozen  shots,  one  of  which 
I  sent  to  Esquire.  The  photograph  of  Joan 
Crawford  is  just  one  picked  at  random 
from  her  latest  sitting.  Rita  Hayworth  and 
John  Crawford  are  two  entirely  different 
personalities,  which  is  the  reason  the  pho- 
tographs are  so  different.  Joan  Crawford, 
to  me,  always  has  been  the  most  decorative 
subject  I  have  ever  photographed.  There 
is  a  strength  and  vitality  about  her  that 
gets  across  and  prevails  even  in  the  fin- 
ished print.  If  I  were  a  sculptor  I  would 
be  satisfied  with  just  doing  Joan  Crawford 
all  the  time. 

Everyone  has  something  that  lends  itself 
to  a  good  photograph,  whether  it  be  charm, 
features  or  personality.  It  is  the  photogra- 
pher's job  to  emphasize  the  fine  points  to 
the  camera's  eye. 

Frontispiece 

As  many  of  our  readers  have  asked  for 
some  data  on  William  Mortensens  studies 
which  have  been  appearing  in  the  maga- 
zine. Mr.  Mortensen  has  kindly  supplied 
the  following  information  pertaining  to  the 
photograph  on  page  2,  which  we  are  in- 
cluding here  rather  than  mar  the  beauty  of 
the  photograph  with  any  text: 

Camera  4x5  Graf  lex,  series  D;  Dagor  7- 
inch  lens;  film,  Eastman  Super-ortho  X; 
exposure  one- fifth  second  at  F16;  devel- 
oped in  Defender  6D  for  50  minutes;  light- 
ing, modified  basic;  printed  on  Kodalure 
G;  print  developer  D-72;  finished  by  Abra- 
sion-Tone. 


International  Photographer  for  September,  1941 


Rita  Havworth 


Joan  Crawford 


Portraits  by  George  Hurrell 


International  Photographer  for  September,  1941 


on  Location  in  Havana 


►v  Henry  O.  Imus 


"Weekend  in  Havana,"  an  original  story,  George  Barbier,  Chris  Pin  Martin,  Sheldon  of  a  New  York-Havana  steamship  company 
places  Alice  Faye,  Cesar  Romero,  Carmen  Leonard  and  Billy  Gilbert  in  a  glamorous  owned  by  Barbier,  and  is  engaged  to  Miss 
Miranda.  John  Payne,  Cobina  Wright.  Jr.,      environment.     Payne   is   the   vice-president      Wright,  who  plays  Barbier's  daughter.   But 


Left  to  right:  Cabana  Fortress;  ramrra  set-up  along  the  bank;  overlooking  Havana; 
starting  to  lay  the  600  feet  of  dolly  traek ;  Leo  MeOeary  in  renter  standing  on  top  of 
wall;  set-up  at  the  rare  traek. 


in  the  course  of  making  the  company's 
peace  with  passengers  discommoded  when 
one  of  the  line's  ships  runs  aground  on  a 
Florida  reef,  Payne  meets  Alice  Faye,  who 
is  a  New  York  shopgirl  on  a  long  saved- 
for  vacation. 

The  story  is  built  around  what  happens 
when  Payne  attempts  to  compensate  Miss 
Faye  for  the  holiday  which  had  been  ruined 


by  the  shipwreck,  and  the  complications 
which  ensue  when  the  two  become  involved 
with  Leonid  Kinskey,  a  bellboy  with  a 
penchant  for  furthering  other  people's  ro- 
mances, and  Miss  Miranda,  a  singer,  and 
her  boy  friend  manager,  Romero,  who  has 
an  insatiable  taste  for  roulette — on  the 
losing  side. 

The   crew    that    went   to    Cuba    included 


James  Havens,  director;  Harry  Jackson, 
first  cameraman ;  Aaron  Rosenberg,  assist- 
ant director;  "Del"  Delavigne,  location 
manager;  Leo  McCreary,  grip  (construc- 
tion engineer)  ;  Henry  Kruse,  Technicolor 
assistant;  and  myself  as  Technicolor  tech- 
nician. All  were  from  the  Fox  lot  except 
Kruse  and  I.  In  addition  we  had  five  Cuban 
grips  to  help  Leo.    By  the  time  we  left  the 


m*  3fr  1       ***iPift8i?l*##-    ** 


■  .- 


Left  to  right:  Scene  in  the  bow  of  a  boat;  another  view  of  the  600  feet  of  track;  (left) 
Harry  Jackson,  Henry  Kruse  and  Henry  Imus;  the  ox  team  that  rescued  us  the  day  of 
the  deluge;  (left)  Harry  Jackson,  Leo  McCreary  and  Cuban  grips;  another  view  of  the 
good  old  oxen  and  their  drivers. 


International  Photographer  for  September,  1941 


island  they  had  become  quite  good  grips 
and  we  were  sorry  to  say  goodbye  to  them. 
Pepi,  the  local  "contact"  man,  knew  every- 
body and  could  get  everything — at  a  dis- 
count. Harry  got  to  know  Pepi  quite  well. 
Then  there  were  the  Cuban  policemen. 
Rodriquez  and  Julio,  and  the  tourist  com- 
missioner, Fernando  Fernandez,  who  went 
everywhere  with  us.  guarding  us  from 
harm  and  other  things.  We  made  quite  a 
cavalcade. 

The  flight  to  Jacksonville  was  quite  un- 
eventful. At  this  point  we  had  to  quit  the 
plane  and  continue  by  rail,  due  to  adverse 
flying  conditions.  In  fact,  a  northbound 
plane  from  Miami  had  crashed  in  the 
swamps  and  this  accident  caused  much 
commotion  among  our  families  back  home 
until  our  reassuring  wires  were  received. 

Due  to  the  customary  wrangle  over  film 
and  equipment,  Kruse  and  I  had  to  stay 
in  Miami  over  the  weekend.  The  season 
being  over,  our  short  stay  was  rather  dull. 
However,  we  did  get  to  see  the  actual  house 
that  Al  Capone  lives  in,  so  you  might  say 
our  time  wasn't  wasted. 

The  City  of  Havana  was  a  new  experi- 
ence for  all  of  us.  The  sidewalk  cafes, 
promenades  and  two-hour  lunch  periods 
were  distinctly  continental  in  character  and 
the  people  semed  to  have  a  Parisian  air  of 


for  SPEED  GRAPHIC 
OWNERS  only! 

supIr 
speedflash  shots 

Are  Easy  With 

SISTOCUN! 

Here's  an  instrument  designed  by  news  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3V4  x  ^V-i  ar,d  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at  1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  for  those  who  want  real 
action  FLASH  PICTURES— At  SUPER  SPEEDS! 
Price   $12.00. 

THE  KALART  COMPANY  INC. 


Dept.  1-9 


619    TAFT    BLDC. 


HOLLYWOOD,    CALIF. 


KALART 


detachment.  Good  humor  and  politeness 
seemed  to  be  the  rule  with  the  Cubans,  and 
we  came  away  feeling  that  they  were  grand 
people. 

The  city  is  very  old  and  its  recorded 
history  antedates  most  of  the  rest  of  the 
new  world.  We  got  a  few  good  shots  of 
Morro  Castle  and  Cabana  Fortress. 

Sloppy  Joe's  (going  to  the  other  ex- 
treme )  is  the  classic  bar  and  meeting  place 
in  Havana.  One  of  our  tougher  assign- 
ments was  to  photograph  the  neon-lighted 
exterior  of  all  the  important  night  spots. 
Needless  to  say,  in  view  of  our  early  calls 
and  night  maintenance,  we  limited  our  par- 
ticipation in  Havana's  night  life  to  a 
couple  of  drinks  in  Sloppy  Joe's. 

Our  breakfast  table  at  the  Hotel  Nacional 
de  Cuba  was  situated  in  front  of  a  window 
full  of  bullet  holes,  relics  of  the  last  revo- 
lution when  the  non-coms  took  over.  This 
hotel  was  one  of  the  largest  I  have  ever 
stayed  in;  in  fact,  I  believe  it  is  considered 
one  of  the  world's  largest  in  point  of  floor 
space  and  ground  area.  Our  onlv  com- 
plaint was  that  our  servicing  and  loading 
rooms  were  at  least  half  a  mile  from  our 
rooms  and  slowed  us  up  when  packing.  We 
could  have  used  a  portable  short  wave 
radio. 

Sea  food  was  good  all  over  Havana  and 
in  Miami,  too.  Grouper,  red  snapper  and 
other  kinds.  Other  than  this  the  food  was 
ordinary  to  downright  plain.  And  the  ser- 
vice— it  seemed  that  nothing  less  than  two 
hours  was  normal  for  dinner,  which  didn't 
fit  in  with  our  program.  Box  lunches  were 
about  on  par  with  those  we  get  in  Holly- 
wood. 

All  of  the  drinks  were  good,  rum  being 
especially  plentiful.  Cuba  libres  cost  in 
some  places  the  same  as  a  coke  does  here 
at  home.    The  beer  was  variable. 

Sometimes  the  weather  became  a  little 
hot,  but  the  almost  constant  trade  wind 
kept  the  humidity  down.  The  nights  were 
cool.  We  had  several  days  of  intermittent 
showers  and  overcast  skies.  In  one  rain- 
storm we  were  caught  two  miles  from  the 
highway  and  had  to  pull  all  the  cars  out 
with  oxen.  That  was  the  day  old  demon 
rum  saved  our  lives. 

We  had  to  go  off  the  highway  to  a  bank 
overlooking  the  beach,  parking  the  camera 
truck  and  carrying  all  the  equipment  over 
a  ravine  and  up  again  to  the  camera  set-up. 
There  had  been  much  joshing  about  the 
weather  and  finally  one  little  cloud  came 
up.  Within  ten  minutes  that  cloud  became 
so  black  that  we  called  for  the  umbrella, 
believing  it  might  rain — and  did  it!  Fight 
of  us  huddled  under  the  umbrella  while 
the  rain  came  down  in  sheets,  with  the 
wind  doing  tricks  to  accompany  it.  It  blew 
the  cloud  one  way,  then  reversed  and  sent 
il  back  again,  until  finally  the  cloud  seem- 
ed to  be  doing  a  Havana  rhumba.  It  was 
an  hour  and  fifteen  minutes  before  the  sun 
came  out  again,  and  there  we  were  off  the 


highway,  with  a  steep  climb  to  get  back, 
but  we  had  the  answer  as  shown  by  the 
team  of  oxen  in  the  accompanying  pictures. 

Leo  McCreary  had  to  lay  600  feet  of  con- 
tinuous dolly  track  for  one  very  difficult 
walking  plate.  It  was  the  love  sequence 
and  had  to  be  a  night  effect.  So  the  lumber 
truck  formed  an  important  part  of  our  pa- 
rade. We  lugged  that  lumber  the  length 
and  breadth  of  the  island  looking  for  a 
suitable  place  to  lay  it.  Success  came  just 
as  we  were  about  to  leave  Cuba.  Leo  was 
set  on  mahogany  track  but  had  to  be  satis- 
fied with  long  leaf  pine  due  to  the  extra 
weight  of  the  mahogany. 

The  camera  crew  had  to  join  the  local 
union  in  order  to  work  on  the  island.  We 
got  our  pictures  taken  and  received  regular 
union  cards  and  permits.  While  the  officials 
were  most  friendly,  the  difference  in  lan- 
guage made  conversation  difficult. 

And  then  there  were  the  cigars.  Mention 
of  this  brings  back  pleasant  memories  of 
an  act  which  Harry  and  Pepi  would  go 
into  every  morning  about  10:30.  First 
they  would  discuss  sizes  and  shapes  of 
cigars — perfectos,  fancy  tales,  club  per- 
fectos,  etc.  Then  the  quality — claro,  claro- 
claro,  and  finally  the  prices,  and  Harry  and 
I  always  brought  up  the  time  that  Pepi  out- 
smarted him  on  a  cigar  deal.  I  never  did 
quite  get  the  rights  of  it,  but  they  seemed 
good  friends  in  spite  of  their  harsh  words. 

All  business  in  Havana  is  conducted  on 
a  10  per  cent  basis.  If  a  guide  brings  you 
into  a  store,  he  gets  10  per  cent  of  the  pur- 
chase price  as  a  credit  from  the  dealer 
and  the  clerk  gets  10  per  cent,  too.  If  a 
chauffeur  drives  you  there,  he  also  gets  10 
per  cent,  so  it  behooves  the  buyer  to  be- 
ware of  too  many  helping  hands. 

We  were  so  busy  servicing  equipment 
and  loading  film  that  we  didn't  see  any  of 
Havana's  famous  night  life  until  our  last 
night  in  town.  That  night  our  Cuban  grips 
chose  to  throw  a  party  for  Leo  and  invited 
me  along.  So  the  four  grips,  Leo  and  I 
got  into  a  taxi  and  started  off  on  a  tour 
of  Havana.  Leo  had  to  have  a  personal 
orchestra,  so  we  picked  up  a  couple  of 
street  singers,  a  little  fat  guitar  player  and 
a  long  thin  maraca  man,  and  they  serenad- 
ed us  all  over  town.  At  each  cafe  we  would 
bring  in  our  own  orchestra.  Of  course 
there  always  was  competition  and  I  might 
say  even  interference  from  the  home  or- 
chestra. We  saw  all  sorts  of  things  that 
night,  including  the  famous  "Shoeing  the 
Mare." 

One  unexpected  taboo  was  the  prohibi- 
tion of  rhumba  dancing  by  Cuban  women; 
another  is  that  no  unmarried  Cuban  girl 
is  allowed  to  go  anywhere  in  public  with- 
out a  chaperon.  And — these  rules  are  rig- 
idly enforced. 

We  covered  over  3,000  miles  by  car 
during  our  four  weeks  stays  and  ran  96,- 
000  linear  feet  of  film  through  the  cam- 
era. The  trip  was  enjoyable,  so  much  so 
that  I  hope  some  day  to  be  able  to  visit 
Havana  and  relax. 


8 


Carmen  Miranda 


Stills  by  Emmet  Schoenbaum 


'Week-End  in  Havana' 


Twentieth  Century  Fox  Production 


International  Photographer  for  September,  1941 


Charlie  McCarthy  Tries  His  Skill  as  a  Cameraman 


Charlie  "punches  in"  to  do  his  stuff. 


He  proceeds  to  thread  up  a  camera. 


'Hm — no  flies  on   this  lens." 


Diffusion  seems  all  right. 


"Hey,  what's  all  the  delay?" 


"How  did  I  get  all  balled  up  in  this'^ 


10 


Stills  bv  Alex  Kahle 


Tired,  he  lies  down  to  read  directions. 


'Nine  for  the  report."' 


Distance  to  camera,  "Perfect  34,  I'd  say.' 


On  the  camera  boom. 


Holding  the  slate. 
nternational  Photographer  for  Septem ber,  1941 


"Now  for  the  film  report.  Wow.  what  a  day." 


11 


"Under  Fiesta  Stars,"  Republic  Picture 


Still  by  George  Hommel 


Gene  Autrv  and  Carol  Hughes 


12 


"hARMON  Of  MichiqAIN"""  aincJ  coluivibiA 


Tom  Harmon  won  his  letter  at  Columbia 
in  sixty  days. 

It  took  him  longer  than  that  to  win  his 
letter  at  Michigan,  but  Michigan  is  a  Uni- 
versity and  Columbia  is  a  studio.  Students 
have  a  faculty  (no  pun  intended )  of  matri- 
culating at  motion  picture  studios  faster 
than  at  higher  educational  institutions. 

"Harmon  of  Michigan"  may  not  be  one 
of  the  most  important  pictures  of  the  year, 
but  it  is  just  one  more  evidence  of  Colum- 
bia Pictures  ingenuity  in  producing  pic- 
tures of  popular  appeal.  Few  there  are  who 
could  possibly  dispute  the  popularity  of 
Tom  Harmon  who  broke  practically  all 
existing  gridiron  records  during  his  three 
years  of  Varsity  Football  at  the  University 
of  Michigan. 

Morrison  Bloomfield  Paul,  member  of 
Local  659,  was  assigned  by  Whitey  Schafer 
to  handle  the  stills  on  "Harmon  of  Michi- 
gan." The  company  under  Director  Charles 
Barton  went  to  the  Los  Angeles  Memorial 
Coliseum  for  the  football  material  and 
during  the  first  day's  shooting  Paul 
"wrapped  up"  some  of  the  best  football 
action  that  has  ever  been  made. 

The  kicking  shot  of  Harmon  was  said  by 
the  football  star  himself,  to  be  one  of  the 
best  pictures  of  football  action  he  had  ever 
seen.  In  talking  to  your  correspondent 
about  the  shot  "Galloping"  Tom  said: 
"During  my  entire  football  career   expert 


football  photographers  have  been  trying 
for  that  shot  and  then  the  first  day  I  am 
playing  "make-believe"  football,  this  Paul 
who  never  covered  football  in  his  life  gets, 
not  only  the  best  shot  ever  made  of  me, 
but  the  best  kicking  shot  I  have  ever  seen." 

The  action  is  stopped  at  the  absolute 
peak.  Both  arms  are  at  full  extension,  the 
kicking  leg  is  at  the  top  and  the  body  has 
not  yet  begun  to  descend.  It  is  the  perfect 
example  of  arrested  motion  made  with  an 
ordinary  4x5  Speed  Graphic. 

For  those  interested  in  detail  the  picture 
was  made  on  Super  XX  film  at  350th  of  a 
second  with  an  8  stop.  An  Aero  No.  1  Fil- 
ter was  employed  and  the  light  was  morn- 
ing and  good. 

"Harmon  of  Michigan"  is  scheduled  for 
release  in  the  middle  of  September,  but 
may  be  delayed  until  the  opening  of  the 
football  season  for  obvious  reasons.  A 
pre-release  showing  of  the  picture,  how- 
ever, is  set  for  the  week  in  which  the  Chi- 
cago Bears  -  All-Stars  game  is  to  be  played. 
One  of  Chicago's  better  picture  houses  will 
hold  the  run.  Tom  Harmon  will  no  doubt 
make  an  appearance  during  the  showing 
since  he  is  to  display  his  wares  with  the 
All  Star  team. 

"Harmon  of  Michigan"  was  produced  by 
Irving  Briskin  under  the  supervision  of 
Wally  MacDonald.  The  cast  includes  Anita 
Louise,  Forest  Evashevski,  "without  whom," 


By  Gene  O'Brien 

to  quote  Harmon,  "I  would  never  have 
been  heard  of,"  Oscar  O'Shea,  Warren 
Ashe  and  the  popular  "By  the  Way"  Bill 
Henry  of  the  Los  Angeles  Times  and  the 
Columbia  Broadcasting  system.  John  Stu- 
mar  was  Chief  Cinematographer  and  his 
crew  ncluded  Operating  Cameraman  Dave 
Ragin  and  Assistants  Sam  Rosen  and  Roy 
Babbitt. 

Description  of  Pictures 
Pages  14  and  15 

Top,  left  to  right:  Tom  Harmon  climbs 
into  the  air  to  shoot  a  fast  pass  during 
scenes  of  Columbia's  football  picture, 
"Harmon  of  Michigan' ;  minus  helmet, 
Harmon  rips  away  in  familiar  touchdown 
style  as  his  Michigan  team-mate  Forest 
Evashevski  blocks  out  the  tackier,  Ambrose 
Schindler  of  Unversity  of  Southern  Cali- 
fornia; Harmon  and  Evashevski  leap  into 
action  during  practice  for  the  picture. 
Lower:  Off  the  Ground;  Harmon,  whose 
familiar  number  "98"  is  known  to  millions 
of  grid  fans,  leaps  off  the  ground  as  he 
throws  a  pass  during  rehearsal  of  football 
scenes.  Greased  Lightning!  Harmon  claws 
the  earth  for  a  fast  start  as  he  gets  away 
for  a  run;  kicking  ability  which  helped 
Harmon  win  games  at  Michigan  was  in 
good  form  for  the  picture.  Evanschevski. 
left,  is  the  ball  holder  for  the  goal  try. 


hollywood  to  chuNqkiNQ 


For  the  first  time  in  the  history  of  Holly- 
wood the  sets  of  a  war  film  have  "stood 
in"  for  the  terrible  reality. 

Maurice  Liu,  Chancellor  of  the  Los  An- 
geles Chinese  Consulate,  has  just  finished 
an  intensive  three  weeks'  course  in  war 
photography  with  Chief  Cameraman  Leon 
Shamroy  on  the  set  of  20th  Century-Fox' 
"Confirm  or  Deny." 

Liu  left  last  week  to  film  a  documentary, 
on  35  mm.,  and  lecture  illustrations  in  16 
mm.  Kodachrome,  of  bomb-wracked 
Chungking  and  the  other  war-torn  parts  of 
China. 

On  "Confirm  or  Deny"  he  was  particu- 
larly fortunate  in  being  able  to  practice 
set-ups  and  lighting  problems  on  sets  which 
in  most  respects  reproduce  the  reality  of 
the  war  conditions  he  will  face  in  his  home- 
land. The  20th  Century-Fox  picture  tells 
the  story  of  an  American  war  correspond- 
ent in  London  during  an  asserted  invasion 
attempt  last  year,  and  the  sets  include 
bombed  streets,  shelters,  cellar  refuges, 
etc.,  all  of  which  Liu  will  shoot  in  China. 

Although    Liu    has   had    extensive   expe- 


rience in  black-and-white  and  color  pho- 
tography, he  thought  it  desirable  to  study 
with  Shamroy  before  making  the  difficult 
trip.  Shamroy  and  Liu  have  been  friends 
for  many  years,  and  the  studio,  as  well  as 
Shamroy,  gave  Liu  carte  blanche  in  using 
its  facilities  for  study. 

Since  Shamroy  spent  1930  in  photo- 
graphing for  the  Huntington  Ethnographic 
Expedition  much  of  the  Chinese  terrain 
which  Liu  will  cover,  he  was  able  to  give 


the  young  diplomat  valuable  tips  concern- 
ing what  and  what  not  to  do  under  the 
circumstances. 

Liu's  primary  interest  on  the  expedition 
will  be  in  photographing  in  detail  the  vast 
underground  industries  of  Chungking, 
which  are  carried  on  in  catacombs  hewn 
out  of  the  rock  beneath  the  Chinese  capital. 
In  addition,  however,  he  wll  survey  the 
Burma  Road,  parts  of  Western  Szechwan 
(Continued  on  p<age  16) 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


International  Photographer  for  September,  1941 


13 


"Harmon  of  Michigan' 


Columbia  Production 


I  I 


(Shot  with  4  by  5  Speed  Graphic) 


Stills  by  M.  B.  Paul 


International  Photographer  for  September,  1941 


(See  page  13  for  description  of  pictures.) 

15 


Joan  Bennett,  co-star  of  "Confirm  or  Deny,"  says  good-bye 
and  good  luck  to  Maurice  Liu,  Chancellor  of  the  Los  An- 
geles Chinese  Consulate,  who  leaves  this  week  to  make  a 
film  survey  of  his  country  for  the  Chinese  government.  Liu 
has  just  finished  a  three  weeks'  course  in  cinematography 
on  the  set  of  the  film,  with  Chief  Cameraman  Leon  Sham- 
roy    (left)    as   instructor. 


mm.  and  10,000  feet  of  16  mm.  Koda- 
chrome.    He  uses  a  GE  exposure  meter. 

Negative  shot  in  China  will  be  returned 
to  Hollywood  for  processing.  Test  strips 
of  the  Plus  X  will  be  developed  in  China, 
while  tests  strips  of  the  Kodachrome  will 
be  Clippered  back  to  Hollywood  for  a 
cabled  report. 

The  35  mm.  negative  will  be  cut  and 
edited  by  Liu,  when  he  returns  here  in  six 
months,  into  a  documentary  film  for  gen- 
eral distribution,  while  the  Kodachrome 
will  be  used  to  illustrate  an  American  lec- 
ture tour  which  Liu  will  make  subse- 
quently. 

"My  sole  purpose  in  making  this  trip," 
Liu  said,  "is  educational.  The  film  shot 
will  not  be  a  travelogue  nor  a  newsreel,  but 
will  be  along  the  documentary  lines  out- 
lined by  Flaherty  and  the  others  who  have 
achieved  success  in  this  medium." 

The  entire  company  of  "Confirm  or 
Deny"  cooperated  with  Liu  during  the 
three  weeks  he  spent  at  20th  Century-Fox. 
Even  Don  Ameche  and  Joan  Bennett,  co- 
stars  of  the  film,  cooperated  by  serving  as 
Liu's  models  between  "takes"  and  during 
the  lunch  hour. 

Just  before  saying  goodbye  to  Shamroy, 
Liu  summed  up  the  problems  of  such  a  job 
by  saying: 

"There's  only  one  trouble — you  can't 
have  retakes!" 


holly  wood  to  chuNqkiNq 


(Continued  from  page  13) 
and  much  of  the  Chinese  northwest  country. 
Part  of  his  stay  in  Chungking,  where 
his  father  is  an  important  official  in  the 
Chinese  Nationalist  government,  will  be 
devoted  to  laying  out  an  underground  film 
processing  laboratory.    If  plans  develop  as 


expected,  Liu  will  purchase  equipment  for 
this  on  his  return  to  Hollywood  at  the  end 
of  six  months. 

With  him  Liu  took  the  following  equip- 
ment, in  addition  to  the  usual  auxiliary 
lighting  and  other  apparatus:  Bell  and 
Howell  studio  camera,  Eyemo,  two  Filmos 
and  two  Leicas,  20,000  feet  of  Plus  X  35 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

DAY PHONES NIGHT 


Hillside        6373  De  Longpre  Ave.     HEmpstead 
8333  Near  Ivar  Street  1311 

HOLLYWOOD,  CALIFORNIA 


Glorify 
this  Scene 
in  Natural 
Color! 


CINE- 


[NE-  J 


DOUBLE 
EIGHT 


Never  to  be  forgotten  scenes  glorified  in 
natural    color    or    in    just    plain    black    and 
white  are  so  easy  to  make — and  so  economi- 
cal  with   this  new  8mm  Camera  sensation. 
It  gives  you  more  for  your  money.    *  East- 
man    Magazine     Loading.      *Turret     Lens 
front,  mounts  three  lenses.    *Five  operating 
speeds.     It's   loaded   with   new   and   worth- 
while features.    See  Perfex  Movie  and  Still 
Cameras   at  your   dealer's.     Literature  free! 
With  F:2.5  Lens,  $59.50 
With  F:1.9  Lens,  $79.50 
Case  Extra,  $6.50 

Candid  Camera  Corp.  of  America 


844  W.  Adams  Street 


Chicago,    III. 


16 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TCLC  V 


Since  Easter  Sunday  of  this  year  tele- 
vision receiver  oAvners  in  Southern  Califor- 
nia have  viewed  Don  Lee  telecasts  several 
times  weekly.  Charles  Correll,  the  "Amos" 
of  "Amos  and  Andy"  writes  in  that  he  has 
had  as  many  as  thirty  guests  at  his  home 
in  the  Hollywood  hills  to  witness  the  box- 
ing bouts  telecast  from  the  American 
Legion  Stadium.  The  television  service  in 
Hollywood  is  second  only  to  that  avail- 
able in  New  \ork  City;  thus,  information 
thereon  should  be  of  interest. 

To  all  these  who  have  visited  greater 
Los  Angeles  or  the  San  Fernando  Valley 
the  new  location  of  the  Don  Lee  Television 
transmitter  W6XAO  is  immediately  appar- 
ent atop  Mt.  Lee  in  "Hollywoodland."  The 
hundred  foot  square  three-story  building, 
flood-lighted  at  night,  and  the  three-hun- 
dred foot  television  tower  command  atten- 
tion from  below  except  when  wreathed  in 
clouds.  The  top  of  the  tower,  being  two 
thousand  feet  above  sea  level  is  the  high- 
est point  in  the  city  limits  of  Los  Angeles. 

Telecasts  are  made  on  the  following 
schedule:  Friday  evening,  8:30  to  10:45 
P.M.  Professional  boxing  bouts  from  the 
Hollywood  American  Legion  Stadium, 
Hollywood  Blvd.,  at  El  Centre  Reid  Kil- 
patrick,  television  commentator.  Music  by 
the  American  Legion  Post  43  Band,  Silvio 
Savant,  Director.  Monday  evening,  8:30 
to  10:45  P.M.  Professional  wrestling  bouts 
from  Hollywood  American  Legion  Stad- 
ium. Reid  Kilpatrick  and  guest  sports 
commentators.  Professional  Coast  League 
baseball  from  the  "Hollywood  Stars"  Gil- 
more  Field,  Beverly  and  Fairfax  Blvds., 
each  Sundav  throughout  the  baseball  sea- 
son, 1:30  to  6:00  P.M.  Mike  Frankovitch 
television-radio  commentator. 

Southern  California  television  lookers 
are  fortunate  in  witnessing  perhaps  the 
best  sporting  events  which  take  place  in 
the  area.  In  other  areas  such  events  are 
not  always  available  to  television.  The 
vision  of  Pacific  Coast  sporting  executives 
in  becoming  associated  with  this  newest 
form  of  mass  entertainment  and  education 
is  to  be  commended. 

On-the-spot  television  pickups  as  sched- 
uled above  are  viewed  by  two  television 
cameras  at  the  scene.  Portable  control 
equipment  and  Don  Lee  transmitter 
W6XDU  beam  the  television  waves  back 
to  the  home  transmitter  atop  Mt.  Lee  for 
retransmission  to  the  many  homes  and  pub- 
lic places  having  television  receivers  in 
Southern  California.  Instantaneous  change 
of  scene  from  long  shots  to  close-ups  is 
possible  by  electric  switching.  At  baseball 
games,  telephoto  shots  of  interesting  plays 
on  the  bases  may  be  televised  as  well  as  of 

International  Photographer  for  September,  1941 


Don    Lee    Television    Building    and    antenna 
tower  atop   Mt.  Lee   in   Hollywood. 


By  Harry  R.  Lubcke, 

Director  of  Television, 

Don  Lee  Broadcasting  System 

the  pitcher-batter-catcher  combination  by  a 
camera  behind  home  plate. 

The  Don  Lee  Television  transmissions 
may  be  received  in  the  greater  portion  of 
the  populated  area  of  Southern  California. 
Television  receivers  are  already  in  opera- 
tion in  the  cities  of  Pomona,  El  Monte, 
Whittier,  Santa  Anita,  Arcadia,  Santa  Ana, 
Long  Beach,  San  Gabriel,  Pasadena,  Playa 
del  Rey,  Santa  Monica,  Beverly  Hills,  San 
Fernando,  Van  Nuys,  North  Hollywood, 
Burbank  and  all  other  cities  less  distant 
than  those  named  from  Mt.  Lee,  Holly- 
wood. Reception  up  to  60  miles  from  Mt. 
Lee  is  expected,  but  has  not  yet  been 
proven  by  installation  of  television  receiv- 
ers in  homes  by  the  public. 

The  Don  Lee  television  station  operates 
on  new  channel  number  1  on  a  visual 
frequency  of  51.25  megacycles  and  on  an 
aural  frequency  of  55.75  megacycles.  525 
line  30-60  frame  interlaced  Federal  Com- 
munications Commission  commercial  stand- 
ard television  images  are  broadcast. 

An  additional  service,  personally  pro- 
vided by  President  Thomas  S.  Lee  of  the 
(Continued  on  page  25) 


The  Don  Lee  portable  television  transmitter  W6XDU  shown  in  the 
upper  audience  section  of  the  Hollywood  Bowl,  televising  the  Easter 
Sunrise  Service,  1941.  The  "Hayrake"  beam  antenna  is  in  the  top  fore- 
ground pointed  to  "beam"  the  message  to  the  maintransmitter  atop 
ground  pointed  to  "beam"  the  message  to  the  main  transmitter  atop 
cable  shown  on  the  poles,  the  cable  running  down  to  the  cameras  posi- 
tioned in  front  of  the  stage.  The  image  monitor  equipment  is  located 
in  the  bowl  lighting  control  booth. 

(Pictures  Courtesy  Don  Lee  Broadcasting.) 

17 


"Washington  First  in  Apples" — from  a  16mm  Film  Produced  by  J.  Walter  Thompson  Co. 


"sweet  seIUnq" 


"Sweet"  is  the  word  for  it!  This  matter 
of  the  Business  Film  and  the  "sweet"  job 
it  does  for  sales.  Unlike  any  other  form 
of  advertising,  an  attractively  produced 
commercial  movie  is  capable  of  building, 
maintaining  and  increasing  the  sales  of 
American  products  and  goodwill.  Sight  and 
sound,  color  and  motion,  plus  entertain- 
ment— all  these  are  blended  into  a  power- 
ful medium,  one  that  is  scoring  a  remark- 
able record  of  achievement  in  every  city 
and  town   in  these  United  States. 

The  experience  of  the  J.  Walter  Thomp- 
son Advertising  Agency  is  a  case  in  point. 
About  three  years  ago,  after  careful  con- 
sideration and  research,  this  nationally- 
known  firm  established  its  own  motion  pic- 
ture department  and  entered  the  subtle  but 
fertile  field  of  business  film  production. 
To  the  advertising  concern,  it  appeared 
that  a  separate  motion  picture  department 
within  its  own  organization,  devoted  solely 
to  the  movie  medium  and  geared  to  pro- 
fessional advertising  standards,  could  very 
well  lead  to  better  merchandising  movies 
for  its  clients.  With  such  thought  in  mind, 
the  motion  picture  department  of  J.  Waller 
Thompson    was   founded.     It    is   said    to   be 


the  only  national  advertising  agency  hav- 
ing a  department  primarily  concerned  with 
business  film  production.  Subsequent  re- 
sults have  demonstrated  clearly  the  sound 
reasoning  of  the  original  premise  of  this 
agency. 

Activity  of  the  company's  picture  de- 
partment calls  for  close  teamwork,  in  the 
smooth  working  of  the  unit,  between  the 
New  York  City  and  Hollywood  offices.  In 
the  east,  executive  Fred  H.  Fidler  starts  a 
film  rolling.  Here  in  the  west,  Norman 
Blackburn,  long  identified  with  studio  work 
in  the  movie  colony,  sees  to  it  that  all 
details  of  actual  production  are  carried  on 
to  successful  conclusion. 

In  the  spacious  audition  studio  of  the 
J.  Walter  Thompson  Hollywood  office,  Mr. 
Blackburn  showed  two  business  films  which 
the  organization  has  recently  produced.  To 
be  sure,  the  two  subjects  were  vastly  differ- 
ent types  ...  a  film  on  the  savoury  Apple; 
the  other,  on  Petroleum  Research  .  .  .  yet 
each  was  an  instructive,  lively  advertising 
presentation  that  blended  shrewd  sales  ap- 
peal with  pure  photogenic  entertainment, 
comparable  to  the  best  theatrical  screen- 
ings.   Here,   indeed,  was  convincing  proof 


By  Hamilton  Riddel 

of  the  universal  appeal  of  the  Business 
Film  and  its  inherent  ability  to  make  for 
"sweet"  selling. 

The  first  subject  viewed  was  an  800-foot 
16  millimeter  film,  "Washington  First  In 
Apples,"  photographed  entirely  in  Koda- 
chrome.  Produced  under  the  personal  di- 
rection of  Norman  Blackburn,  with  photo- 
graphy by  Joe  Yolo,  and  commentary  by 
Don  Wilson  of  the  radio  networks,  the 
story  of  the  prosperous  Apple  Industry  was 
told  in  beautiful  sequences  of  natural  color 
photography.  Scenic  highlights  of  the 
State  of  Washington  and  of  its  famed  apple 
crop,  photographed  throughout  the  differ- 
ent seasons  of  its  growth,  as  well  as  the 
great  activity  during  the  picking  season, 
were  depicted  in  eye-arresting  shots.  Thence 
on  to  the  packing  houses,  where  the  apples 
are  graded,  boxed  and  shipped  to  the  mar- 
kets of  the  country.  There  were  human 
interest  touches,  too,  of  youngsters  enjoy- 
ing the  rich  red  fruit,  and  of  colorful  apple 
festivals.  Presented  in  big  close-ups  of  nat- 
ural color,  an  instructive  sequence  was  in- 
corporated in  the  film  which  showed  the 
many  varieties  of  apples  produced  in  the 
(Continued  on  page  26) 


18 


Convenient  To  Use- 


K, 


ECONOMICAL  TO  BUY 


.ODAK  Prepared  Developer  Powders  are  convenient  to  use 
—need  only  to  be  dissolved  in  the  required  volume  of  water  to 
be  ready  for  use. 

They  are  economical — one  saves  time  in  preparing  developers 
—can  dispense  with  stocks  of  individual  chemicals,  avoiding 
waste  and  deterioration. 

They  are  dependable — are  made  from  pure  Kodak  Tested 
Chemicals,  are  accurately  weighed,  compounded,  packed  in  tin 
or  glass,  and  are  always  fresh.  Use  Kodak  Prepared  Developer 
Powders  for  the  best  possible  processing  results.  Eastman  Kodak 
Co.,  Rochester,  N.  Y. 


Specify 

KODAK 


TESTED    CHEMICALS 


International  Photographer  for  September,  1941 


19 


l6fttM.  dEpARTMEINT 


On  the  Subject  of  Camera  Speeds 

Probably  one  of  the  most  useful,  but 
most  neglected,  controls  on  an  amateur 
motion  picture  camera  is  the  variable  speed 
control.  Many  of  the  amateurs  to  whom 
we  have  spoken  considered  the  adjusting 
knob  a  gadget  that  might  just  as  well  have 
been  omitted;  others  who  understood  its 
diversification  were  frankly  stymied  by  the 
many  problems  which  its  use  might  poise; 
and  still  others  "rushed  in  where  angels 
feared  to  tread" — and  failed.  But  it  can 
be  used  very  successfully. 

Let  us  look  first  at  the  underlying  facts. 
The  standard  silent  camera  speed  is  16 
frames  per  second,  and  the  standard  sound 
speed  24  frames  per  second.  But  we'll  as- 
sume that  you  are  the  average  amateur  who 
does  not  intend  to  add  sound  on  the  film. 
(It  is  important  here  to  distinguish  between 
supplementary  background  music,  such  as 
phonograph  recordings,  with  which  the 
standard  speed  is  retained,  and  actual  sound 
recording  on  the  film  rack,  which  of  course 
will  require  the  24-frame  per  second  sound 
speed.) 

The  shutter  consists  of  a  metal  disc,  ap- 
proximately half  of  which  is  open  at  the 
exact  instant  at  which  the  film  remains 
stationery  to  permit  exposure,  synchronized 
with  the  intermittent  movement  of  the  film 
gate  so  that  that  open  portion  remains  be- 
tween the  lens  and  the  film  only  for  the 
duration  of  the  exposure.  Then,  as  the 
metal  portion  of  the  disc  moves  in  between 
the  lens  and  film,  shutting  out  the  light  and 
closing  the  shutter,  the  claws  of  the  inter- 
mittent movement  engage  the  sprocket  holes 
of  the  film  and  pull  it  down  the  length  of 
one  frame.  The  next  frame  is  then  in  posi- 
tion for  an  exposure.  The  shutter,  of  course, 
is  rotating,  and  as  the  claws  of  the  move- 
ment leave  the  sprocket  holes  to  repeat 
their  part  of  the  process,  the  open  sector 
of  the  shutter  is  once  again  at  the  photo- 
graphic aperture  behind  the  lens,  ready  for 
another  exposure. 

The  shutter  sector  (the  amount  of  open- 
ing built  into  the  disc)  varies  with  the 
make  of  the  camera,  and  depends  largely 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and  Black  and  White  Printers,  Re- 
winds. 
Special   Machinery   built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Holly-wood,  Calif. 

Cable    Addremi:     "CINEBARSAM" 


upon  the  construction  of  the  individual  in- 
termittent movement.  In  the  Eastman  cam- 
era the  open  sector  is  exactly  one-half  of 
the  entire  disc  ( 180  degrees).  And  while  it 
may  frequently  be  less,  it  is  never  greater. 
Running  at  the  standard  speed  of  16  frames 
per  second,  therefore,  a  complete  revolu- 
tion of  the  shutter  will  be  made  in  1/16  of 
a  second.  The  time  allotment  for  each  in- 
dividual frame,  from  the  moment  at  which 
the  intermittent  movement  starts  the  cycle 
and  the  claws  engage  the  sprocket  holes, 
through  the  time  it  is  brought  into  place 
behind  the  photographic  aperture,  and  until 
it  comes  to  rest  immediately  below  it,  is 
1/16  of  a  second.  But  we  are  interested 
only  in  one-half  of  this  time — the  1/32  of 
a  second  interval  during  which  the  expo- 
sure is  being  made. 

The  exposure,  then,  becomes  directly  de- 
pendent upon  the  speed  with  which  the 
shutter  is  rotating,  which,  in  turn,  is  de- 
pendent upon  the  speed  of  the  camera;  the 
greater  the  speed  of  the  camera,  the  faster 
is  the  rotation  of  the  shutter  and  the  small- 
er the  time  interval  during  which  the  open 
sector  remains  in  front  of  the  photographic 
aperture  permitting  light  to  pass  from  the 
lens.  Briefly  stated,  the  greater  the  camera 
speed,  the  shorter  the  exposure,  and  the 
slower  the  camera  speed,  the  longer  the  ex- 
posure. 

In  order  for  action  to  appear  at  a  na- 
tural pace  on  the  screen,  the  projector  and 
the  camera  must  be  run  at  the  identical 
speed.  We  feel,  therefore,  that  those  ama- 
teur projectors  which  have  been  built  with 
a  rheostat  control  to  permit  an  undefined 
speed  of  from  five  or  six  to  32  or  40  frames 
per  second,  constitute  a  hazard  to  the 
average  amateur. 

Let's  assume,  however,  that  we  are  run- 
ning at  the  silent  standard.  This  is  the 
speed  for  best  results  generally,  because  a 
speed  greater  than  16  frames  per  second 
is  an  unnecessary  waste  of  raw  film,  and  a 
speed  of  less  than  16  frames  per  second 
will  give  an  unsatisfactory  flicker  when  it 
is  projected  at  the  slower  speed.  Now, 
operating  the  projector  at  the  standard 
speed,  any  action  that  has  been  photo- 
graphed at  less  than  the  standard  speed 
will  appear  jumpy;  and  any  action  that 
has  been  photographed  at  greater  than 
standard  speed  will  be  slowed  down.  For 
example,  action  consuming  one  second  and 
photographed  on  eight  frames  of  film  in 
that  one  second,  and  then  projected  in  one- 
half  second  (at  16  frames  per  second)  will 
appear  abnormally  fast;  and  conversely,  if 
action  is  photographed  on  64  frames  dur- 
ing that  one  second,  and  then  projected  at 
standard  speed,  four  seconds  will  be  re- 
quired for  projection  and  the  result  will  be 
slow  motion. 

Now   to   put   these   basic   facts  to   work. 


Perhaps  the  most  frequent  use  the  amateur 
will  find  for  his  variable  speed  control  is 
the  eight-frame  speed  when  lighting  con- 
ditions are  such  that  the  usual  1/32  of  a 
second  exposure  will  be  too  short.  This  is 
especially  true  of  Kodachrome  film  when 
photographing  sunsets,  sunrises,  etc.  By 
slowing  the  camera  down  to  eight  frames, 
the  exposure  will  consequently  be  length- 
ened to  1/16  of  a  second.  It  must  be  em- 
phasized, however,  that  only  scenes  in 
which  there  is  no  action  of  any  proportion, 
should  be  photographed  in  this  manner. 

Occasionally  it  is  desired  to  speed  the 
action  up,  (the  camera  speed,  of  course,  is 
slowed  down)  especially  when  photograph- 
ing trains  that  are  moving  slowly,  or  horse 
races,  or  some  athletic  events,  etc.,  particu- 
larly when  a  lens  of  long  focal  length  is 
used  and  the  angle  is  such  that  the  action 
is  coming  directly  ( or  nearly  so )  toward 
the  camera.  Long  focal  length  lenses  have 
a  perspective  that  minimizes  the  effect  of 
action  coming  toward  the  camera,  and 
speeding  camera  action  up  will  provide  a 
more  natural  appearance  under  normal 
projection.  But  remember  when  using  the 
eight-frames-per-second  camera  speed,  that 
the  exposure  becomes  1/16  of  a  second, 
and  be  sure  to  use  the  next  smaller  stop 
when  shooting  in  normal  light. 

The  result  of  shooting  a  normal  scene 
at  a  speed  greater  than  16  frames  per  sec- 
ond is  slow  motion,  when  the  film  is  pro- 
jected at  a  normal  rate  of  speed.  If  you 
are  shooting  a  scene  at,  let  us  say,  four 
times  the  normal  speed,  or  64  frames  per 
second,  to  slow  the  action  down  to  one- 
fourth  normal,  be  sure  to  bear  in  mind  that 
the  exposure  now  becomes  one-fourth  of 
1/32  of  a  second,  or  1/128  of  a  second, 
and  the  lens  aperture  will  have  to  be  opened 
up  two  stops,  since  each  stop  represents  an 
increase  of  100  %   in  exposure. 

For  those  interested  in  miniatures,  etc., 
this  control  will  be  found  to  be  a  necessity. 
The  swaying  of  trees,  the  ripples  on  the 
water,  or  any  type  of  movement  which 
would  appear  normal  to  the  eye  in  the 
scene  itself,  will  require  faster  camera 
speed  so  that  the  action  will  be  slowed 
down  to  the  point  where  the  perspective  of 
the  movements  in  the  minature  matches 
those  in  the  scene  as  it  appears  to  the 
eye.  Look  closely  at  ripples  appearing  on 
water  at  some  distance  from  you — do  you 
notice  how  slowly  they  appear  to  be  mov- 
ing? And  so,  in  all  action  from  the  sway- 
ing of  leaves  to  mammoth  explosions,  you 
can  give  that  distance  to  the  scene  by  slow- 
ing the  action  down  by  means  of  an  abnor- 
mal camera  speed  and  normal  projection. 

With  judicious  and  intelligent  handling, 
variable  speed  control  will  go  a  long  way 
toward  making  your  pictures  more  interest- 
ing. 


20 


In  this  scene  from  ffie  new  M-G-M  feature  "A  Woman's  Face,"  you  see 


THE  LATEST  TECHNIQUE  IN 
DRAMATIC  "MODELLING'' 


with  G-E  MAZDA  lamps  in  "inkies" 


•  When  we  asked  John  Arnold,  head  of 
the  Camera  Department  at  Metro-Gold- 
wyn-Mayer  for  some  pictures  showing  the 
use  of  lighting  in  black-and-white  photog- 
raphy, he  gave  us  this  shot  from  the  pro- 
duction "A  Woman's  Face." 

Few  pictures  could  show  more  clearly  the 
application  of  the  latest  technique  in  mod- 
elling lights.  See  what  flexibility  you  have 
with  G-E  MAZDA  lamps  in  inkie  equip- 
ment ...  all  the  lights  you  want,  to  create 
the  effect  you  need,  even  in  limited  space. 


Thanks  to  today's  equipment,  you  can 
control  G-E  MAZDA  lamps  beautifully  to 
hit  just  the  spots  you  want  to  emphasize. 
They're  good  for  process  work,  for  special 
effects,  and  for  color.  They  go  into  action 
fast,  to  help  you  speed  shooting  schedules. 
And  among  the  9,000  different  types  and 
sizes  of  G-E  MAZDA  lamps  are  many  that 
help  to  produce  almost  any  effect  you 
want.  Are  you  using  them  to  help  you? 
General  Electric  Company,  Nela  Park, 
Cleveland,  Ohio. 


GENERAL  ^§  ELECTRIC 

MAZDA  LAMPS 


International  Photographer  for  September,  1941 


21 


ififiOEUJinos 


Graflex  Announces  Flash 
Synchronizer 

The  Graflex  Flash  Synchronizer  has  just  been 
announced  by  the  Folmer  Graflex  Corporation 
of  Rochester.  Engineered  to  new  high  standards 
from  the  ground  up,  it  has  been  established  dur- 
ing extensive  use  by  the  U.  S.  Army  that  it  will 
maintain  synchronism  with  Supermatic  and  Com- 
pur  shutters  long  after  the  point  at  which  mo- 
mentary exhaustion  or  aging  of  the  batteries,  or 
low  temperature,  would  have  thrown  many  other 
outfits  totally  out  of  adjustment.  It  can  be  used 
on  all  cameras  with  between-the-lens-shutters 
capable  of  being  synchronized  (such  as  Super- 
matic and  Compurl  that  have  lensboards  large 
enough  to  accommodate  the  solenoid  release. 

This  synchronizer  is  supplied  in  two  models — 
a  compact  2-cell  unit  that  will  probably  be  pre- 
ferred by  users  of  the  Miniature  Speed  Graphic, 


and  a  3-cell  unit  offering  a  somewhat  greater 
battery  life.  The  battery  cases  differ  in  length, 
and  the  solenoid  releases  have  certain  internal 
differences  to  assure  the  most  efficient  possible 
operation  with  the  current  available.  Since  the 
two  units  are  identical  in  their  performance  char- 
acteristics, aside  from  the  matter  of  battery  life, 
both  synchronizers  are  covered  by  the  following 
description: 

The  solenoid  release  is  a  cylindrical  unit,  so 
compact  that  it  can  be  permanently  mounted  on 
the  lensboards  of  the  QAtA^A  and  4x5  Anniver- 
sary Speed  Graphics  and  remain  in  position  with 
the  camera  closed.  Quickly-detachable  mounts 
are  provided  for  the  Miniature  Speed  Graphic, 
and  for  previous  models  of  the  larger  sizes.  The 
battery  case  may  be  attached  to  a  suitable  bracket 
on  either  side  of  the  camera,  and  the  new  cam- 
clamp  provides  instant  and  firm  attachment  by 
the   push   of   a  lever.    The   case   separates   easily 


The  new  Graflex  Speed  Synchronizer 


for  the  occasional  change  of  dry  cells,  and  can 
be  both  adjusted  vertically  and  rotated.  There 
are  two  parallel  outlets  for  multiple-flash  work 
with  the  connecting  cord  and  another  for  standard 
household  plugs,  as  well  as  a  series  outlet  for 
focal-plane  synchronization  and  remote  control. 
The  switch  is  associated  with  the  series  outlet  in 
such  a  way  that  accidental  ignition  of  the  lamp 
through  the  switch  cannot  occur  when  this  out- 
let is  in  use.  Silver  points  in  all  important  con- 
nections assure  positive  contact. 

A  built-in  focusing  spot-light,  controlled  by  a 
convenient  slide-switch,  directs  a  beam  of  light 
on  the  subject  to  assure  accurate  sighting  and 
focusing  even  in  total  darkness  and  to  serve  as 
an  indicator  of  approximate  battery  condition. 

Two  types  of  highly  efficient  reflectors  are  avail- 
able: a  7-inch  reflector  for  medium-base  lamps, 
adjustable  vertically  for  various  sizes;  and  a  5- 
inch  reflector  (approved  by  lighting  engineers) 
for  concentrated  illumination  with  miniature  bay- 
onet-base lamps,  distributing  the  light  evenly  over 
the  field  of  normal  focal-length  lenses.  Both  have 
self-locking  and  self-centering  attaching  brackets, 
which  permit  instant  removal  and  attachment  in 
the  correct  position.  Used  lamps  are  automatic- 
ally released  by  ejectors,  thus  permitting  quick 
changes  without  burnt  fingers. 

The  major  basic  principle  of  the  Graflex  Syn- 
chronizer is  the  balance  between  the  mechanical 
and  electrical  elements  of  its  inertia-type  sole- 
noid release:  it  is  designed  to  work  on  a  battery 
having  an  output  as  low  as  3  amperes,  yet  its 
accuracy  is  not  noticeably  affected  by  even  the 
full  10-amp  output  of  a  3-cell  unit  when  the 
batteries  are  new.  As  a  result  any  standard  dry 
cell  that  fits  in  the  battery  case  is  completely 
satisfactory,  and  there  is  an  ample  reserve  of 
current  for  accurate  lamp  ignition.  Low  tempera- 
tures causing  a  sharp  drop  in  the  output  of  even 
the  freshest  dry  cell,  or  momentary  exhaustion 
following  a  rapid  series  of  flashes,  or  the  loss  of 
power  that  accompanies  old  age — none  of  these 
is  likely  to  throw  it  "out  of  sync"  until  battery 
output  drops  to  the  point  where  lamp-ignition 
failure  is  to  be  expected. 

Due  to  the  low  current  consumption  of  this 
new  inertia-type  solenoid  release,  three  cells  de- 
liver enough  current  under  most  conditions  to 
permit  firing  several  lamps  on  suitable  extension 
cords  without  readjustment  of  the  synchronizer. 
A  remote-control  with  a  25-foot  cord,  regular 
connecting-cords  17  inches  and  36  inches  long, 
and    a    focal-plane   connecting-cord    are    available. 

Announcements  from  Bell  &  Howell 
New  Exposure  Calculator  on  Filmo  Cameras 

From  Bell  &  Howell  comes  word  of  an  inter- 
esting new  exposure  calculator  which  is  now  be- 
ing built  into  the  B  &  H  16mm.  magazine-loading 
line — the  Filmo  Auto  Load,  Speedster,  and  Auto 
Master    Cameras. 

The  new  guide  compensates  for  film  emulsion 
speed,  filter  factor,  and  camera  operating  speed, 
in  addition  to  the  important  external  factors  gov- 
erning exposure — brilliance  of  sunlight,  type  of 
scene,  season,  and  time  of  day. 

Despite  its  complete  coverage  of  all  details, 
says  B  &  H.  the  new  calculator  is  amazingly  easy 
to  use.  With  a  single  turn  of  the  dial,  it  gives 
direct  readings  for  Kodachrome  film  at  normal 
camera  speed,  which,  after  all,  is  what  thou- 
sands of  owners  will  want.  Then,  any  additional 
compensating  adjustments  are  made  one  at  a 
time,  and  the  proper  F  stop  is  clearly  indicated 
at  each  move. 

The  new  guide  is  of  the  familiar  convex  metal 
dial   design,   with   an   outer  disk   rotating  to  effect 


22 


the  adjustments.  Finished  in  maroon  and  chro- 
mium, the  new  calculator  is  said  to  present  a 
smart  appearance. 

B  &  H  Reels  Given  Severe  Test 

From  Filmo  headquarters  come  the  details  of 
a  rigid  test  just  given  to  B  &  H  steel  reels. 

For  more  than  four  and  one-half  days  a  1600- 
foot  Bell  &  Howell  steel  reel  was  drenched  con- 
tinuously with  a  salt  spray  bath.  At  the  end  of 
that  time,  says  B  &  H,  the  reel  was  found  to  be 
in  perfect  condition.  The  original  luster  was 
slightly  dulled,  but  the  finish  was  not  basically 
affected  in  the  least.  No  peeling,  no  chipping 
or  cracking.    No  chance  for  corrosion  or  rust. 

Bell  &  Howell  states  that  this  test  is  conclu- 
sive proof  of  the  rust-resisting  properties  of  the 
Bonderizing  process  and  of  the  fine  lacquer  fin- 
ish, both  of  which  are  applied  to  all  B  &  H  steel 
reels. 

With  the  recent  introduction  of  the  400-foot 
8mm.  reel,  and  the  400-  and  2.000-foot  16mm. 
reels,  the  B  &  H  line  of  rustproof  steel  reels  is 
now  complete — from  200-foot  8mm.  to  2.000-foot 
16mm. 

Filmo  Slide  Master  for  Still   Projection 

Of  interest  to  many  people  is  the  new  Filmo 
Slide  Master  for  the  projection  of  glass  or  paper 
mounted  2x2-inch  Kodachrome  or  black  and 
white  transparencies. 

Filmo  Slide  Master  is  said  to  be  light  and 
extremely  portable,  and  will  produce  brighter, 
more  uniformly  illuminated,  and  more  sharply 
defined  still  pictures  than  heretofore  have  been 
considered  possible.  The  new  unit  is  claimed  to 
offer  a  list  of  features  hitherto  not  to  be  found 
in  any  slide  projector. 

Perhaps  the  most  interesting  feature  of  the 
Slide  Master  is  the  new  "base-up"  lamp,  which 
slides  easily  into  the  lamphouse  from  the  top 
and  which  burns  with  its  base  upward. 

The  new  lamp  retains  the  familiar  B  &  H 
pre-focusing,  pre-aligning  ring,  which  this  com- 
pany has  always  used  on  its  motion  picture  pro- 
jector lamps  to  assure  positioning  the  lamp  for 
maximum  illumination.  The  top  of  the  Slide 
Master  lamphouse  is  a  hinged  snap-cover,  which 
automatically  breaks  the  electrical  circuit  as  it 
is  opened — thus  lamps  may  be  interchanged  with 
perfect  safety.  And  since  it  is  the  cool  base  that 
is  upward,  gloves  are  not  needed  to  remove  a 
hot  lamp. 

Filmo  Slide  Master  is  designed  to  take  500-, 
750-,  or  1.000-watt  baseup  lamps,  providing  what- 
ever degree  of  illumination  is  required.  B  &  H 
states  that  there  is  no  light  spill  from  the  Slide 
Master,  and  that  the  darkened  room  stays  dark, 
except   for  the   brilliant    picture   on   the   screen. 

A  powerful,  motor-driven  fan  circulates  a  forced 
draft  of  cool  air  throughout  the  projector,  with 
special  attention  given  to  cooling  the  slide.  The 
motor  automatically  increases  speed,  and  there- 
fore the  blast  of  cool  air,  when  a  1,000-watt  lamp 
is  used,  and  decreases  speed  when  lamps  gener- 
ating less  heat  are  used.  Motor  and  fan  bearings 
are   sealed   in,   lubricated   for  life. 

Two  convenient,  clearly  marked  switches  are 
provided,  one  releasing  current  to  the  entire  pro- 
jector, the  other  operating  only  the  lamp.  The 
lamp  cannot  be  turned  on  unless  the  fan  motor  is 
running,  thus  avoiding  all  possibility  of  over- 
beating. 

Filmo  Slide  Master  is  offered  with  a  choice  of 
3%-,  5-,  or  7%-inch  F4.5  lenses,  and  B  &  H 
states  that  all  lenses  are  anastigmatic,  and  are 
interchangeable.  Lenses  are  focused  by  a  rack- 
and-pinion  assembly,  which  operates  by  turning 
a  large,  conveniently  placed  knurled  knob.  The 
lens  may  be  locked  in  focus. 

Self-locking  tilt  controls,  one  at  each  end  of 
the  projector,  provide  up  or  down  tilt  through 
an  extremely  wide  range. 

The  condenser  includes  two  heat  absorbing 
glass  filters,  for  maximum  slide  protection. 

The  slide  carrier  is  of  die-cast  metal,  with  spe- 
cial air  passages  providing  for  circulation  of  free, 


The  new  Bell  &  Howell  Filmo  Slide  Master 
for  the  projection  of  2  by  2  inch  slides. 

cool  air  around  the  slide.  The  carrier  is  of  the 
conventional  two-slide  type,  shifting  horizontally 
to  permit  change  of  slides  while  one  slide  is 
being  projected.  Slides  are  held  filmly  in  the 
focal   plane  by  springs. 

Filmo  Slide  Master  has  a  brilliant,  all-metal, 
Rhodium-surfaced  reflector  which  is  factory  ad- 
justed. Although  easily  removable  for  cleaning, 
it  can  be  reseated  only  in  the  one  correct  posi- 
tion. In  fact,  B  &  H  states  that  all  parts  of  Slide 
.Master's  high  efficiency  optical  system  are  easily 
removed  for  occasional   cleaning. 

Filmo  Slide  Master  operates  on  100-  to  125- 
volt   AC  or  DC. 

Kodascope  Eight-33  Projector 

The  new  Kodascope  Eight-33  Projector,  manu- 
factured by  the  Eastman  Kodak  Company,  con- 
tains a  number  of  features  appealing  to  home 
movie  fans  interested  in  large,  brilliant,  and  uni- 
formly lighted  screen  pictures.  The  optical  sys- 
tem includes  a  one-inch  f/2  Kodak  Anastigmat 
projection  lens,  highly  corrected  to  give  excel- 
lent definition  at  all  recommended  projection  dis- 
tances, and  easily  focused  by  means  of  a  small 
arm  on  the  lens  barrel.  Directly  behind  the  pro- 
jector lamp  is  a  polished  metal  mirror,  and  in 
front  of  the  lamp  is  a  condenser  lens  that  can 
be  easily  removed  for  cleaning. 

Affording  finger  tip  control  of  major  projec- 
tion functions,  the  motor  switch,  speed  control, 
and  lamp  switch  are  located  on  a  single  panel. 
The  lamp  and  motor  circuits  are  so  arranged  that 
the  lamp  will  not  light  until  the  motor  switch  is 
closed,  and  the  lamp  can  be  turned  off  for  rewind- 
ing. An  automatic  safety  shutter  drops  into  place 
between  the  film  and  the  condenser  if  the  speed 
of  the  projector  becomes  too  low.  Of  high  qual- 
ity, the  powerful  100-  to  125-volt,  D.C.,  or  25-  to 
60-cycle  A.C.  motor  assures  smooth  projection, 
and  an  efficient  ventilating  fan,  mounted  on  the 
end  of  the  motor  shaft,  blows  air  directly  on  the 
lamp  and  then  through  louvers  in  the  top  of  the 
lamphouse. 

Projector  head,  reel  arms,  fan  house,  lamp- 
house,  and  base  of  the  Kodascope  Eight-33  are  of 
die  cast  metal  construction,  finished  in  gray 
wrinkle  enamel.  A  convenient  carrying  handle  is 
cast  as  part  of  the  housing.  The  lamphouse  is 
readily  removeable,  providing  easy  accessibility 
to  lamp  and  condensing  lens. 

Located  on  top  of  the  projector,  a  positive 
framing  device  moves  the  film  with  respect  to  the 
gate,  which  makes  it  unnecessary  to  alter  the 
projector  tilt  following  the  framing  operation. 
Both    the   gate   and    pressure   pad   are   finished    in 


highly  polished  chromium  plate.  A  simple  catch 
holds  the  hinged  film  gate  open  for  easy  threading 
and  cleaning.  On  the  front  of  the  projector  i^  ;i 
threading  knob  which  permits  checking  threading 
operations  before   the   projector   motor  is  started. 

This  new  Kodascope  is  regularly  furnished  with 
the  standard  500-watt,  line  voltage,  T-10,  biplane 
filament  lamp,  however,  it  may  also  be  used  with 
either  300-  or  400-watt  lamps.  The  reel  arms 
accommodate  200-foot  reels.  To  rewind  the  film 
after  projection,  the  upper  spring  belt  is  attached 
to  the  supply  pulley,  and  the  take-up  belt  is 
removed  from  the  power  pulley.  A  screw-type 
tilting  adjustment  is  located  on  the  base  of  the 
projector. 

Covered  with  airplane  luggage  fabric  and  of 
sturdy  construction,  a  carrying  case  for  the  Koda- 
scope Eight-33  is  available  as  an  accessory.  It 
is  sufficiently  roomy  to  accommodate  the  projec- 
tor, a  spare  lamp,  two  200-foot  reels,  splicing  and 
lubricating  outfits. 

Kalart  Automatic  Speed  Flash 

A  new  Automatic  Speed  Flash  has  just  been 
announced  by  the  Kalart  Company.  Fully  auto- 
matic in  that  it  requires  no  winding  or  cocking 
before  use,  this  synchronizer  is  of  the  mechani- 
cal type.  It  is  also  a  universal  Speed  Flash,  fit- 
ting practically  any  type  of  camera  having  a 
cable  release  socket.  It  can  also  be  used  with 
miniature  focal  plane  cameras  by  the  addition 
of  a  simple  adapter. 

Extremely  compact  in  size,  measuring  only  1% 
inches  in  length  and  '-j-inch  in  width,  the  Auto- 
matic synchronizer  unit  itself  snaps  into  the  jack 
terminals  of  the  battery  case,  requires  no  cable 
release  and  eliminates  all  wires.  An  armored, 
flexible  coupling  connects  the  synchronizer  to  the 
shutter.  The  coupling  is  adjustable  for  variations 
in  shutters. 

In  operation  you  simply  press  the  cushioned 
release  button,  setting  in  motion  the  inertia  rotor 
which  controls  the  timing  cycle,  the  same  basic 
principle  of  the  famous  Kalart  Micromatic  Speed 
Flash.  Synchronization  is  unaffected  by  varying 
finger  release  pressure.  The  Automatic  unit  may 
be  used  with  either  the  Kalart  Master  or  Compak 
battery  cases.  With  the  Kalart  Master  Battery 
case  and  reflector,  the  Automatic  will  retail  at 
$18.50  complete.  With  Compak  battery  case- 
reflector  combination  the  price  is  $14.95.  The 
synchronizing  unit  only  is  $10. 

New  Kalart  Range  Finder 

The  Kalart  Company  announces  its  new  model 
"E"  Lens-Coupled  Range  Finder  which  will  sup- 
plant the  present  Model  "F".  The  new  model 
range  finder  embodies  the  experience  gained  in 
the  manufacture  of  more  than  50,000  range 
finders. 

This  new  synchronized  range  finder  will  fit  all 
Speed  Graphic  cameras.  Watson  Press  Cameras 
and  most  film  pack  cameras. 

Streamlined  in  appearance,  the  new  model  has 
a  bigger  and  brighter  image  which  will  enable 
photographers  to  focus  accurately  even  under  un- 
favorable light  conditions.  The  range  finder  is 
of  the  superimposed   image  type. 

Close  working  distance  has  been  increased  from 
3%  feet  to  2VL>  feet  on  the  new  shorter  focal 
length  lenses  which  will  be  of  prime  importance 
to  those  doing  close-up  work  and  portraits.  Me- 
chanically the  new  range  finder  will  have  all 
adjustments  internally,  simplifying  installation 
and  adjustment.  The  range  finder  is  adjustable 
for  all  lenses  from  10.5  to  16.5  cm.  Adjustment 
permits  owners  to  compensate  for  tolerances  in 
focal  length  inherent   in   every  lens. 

The  new  range  finder  is  said  to  be  practically 
shock  proof  by  ingenious  suspension  of  the  syn- 
chronizing  mechanism. 

Price  of  the  new  range  finder  remains  at  $24, 
plus  nominal   installation   charge. 

(Continued  on  page  24) 


International  Photographer  for  September,  1941 


23 


PHTfJTS 

By  ROBERT  W.  FULWIDER,  Patent  Attorney,  Los  Angeles 


No.  2,248,056 — Film  Processing  System. 
Jesse  M.  Blaney,  Springdale,  Conn.,  as- 
signor  to   the   Gov't   of   the   U.S.A.,    as 
represented  by  the  Secy  of  War.   Appli- 
cation May  19,  1939.    3  claims. 
A  film  treating  device  in  which  the  film  is 
passed   through   a   solution    while   jets    of 
liquid  are  directed  onto  the  film  to  scrub 
it  and  overcome  frictional  drag. 

No.  2,248,904 — Process  of  Copying  Len- 
ticular Films.    John  Eggert  and  Gerd 
Heymer,    Germany,    assignors    to    I.    G. 
Farbenin  dust  rie      Aktiengesel  lschaf  t, 
Frankfort-on-the-Main,  Germany.   Appli- 
cation June  18,  1937.   Germany  June  25, 
1936.  2  claims. 
A   method   of   copying    lenticular   film   in 
which  the  central  rays  of  the  copying  light 
are  partially  absorbed  by  a  filter  to  com- 
pensate for  the  darkening  of  the  edge  of 
the  field  which  occurred  when  the  picture 
was  taken. 

No.  2,249,033 — Apparatus  for  Printing 
Motion   Picture   Films.    Frederick   T. 
O'Grady,  Flushing,  N.  Y.  Original  appli- 
cation  November   1,   1937,   now    Patent 
No.  2,207,103,  dated  July  9,  1940.    Di- 
vided and  this  application  June  8,  1940. 
2  claims. 
A    projection    printer    for    motion    picture 
films  in  which  the  negative  may  be  moved 
along  the  optical  axis  a  distance  equal  to 
the  thickness  of  the  film  to  compensate  for 
the  emulsion  being  on  the  front  face  or  the 
rear  face  of  the  film. 

No.  2,249,061  -  -  Projection  Device. 
Harry  H.  Styll,  Southbridge,  Mass.  Ap- 
plication Sept.  20,  1937.  2  claims. 
A  projection  filter  which  has  a  light  polar- 
izing filter  which  is  damaged  by  heat,  and 
an  infra-red  retarding  filter  spaced  from 
the  polarizing  filter  and  between  the  latter 
and  the  light  source. 

No.  2,249,541 — Production  of  Natural 
Color  Photographs  by  Intermediate 
Dye  Coupling.    Karl  Schinzel,  Czecho- 
slovakia,   assignor    to    Eastman    Kodak 
Company.  Application  Dec.  2,  1937,  in 
Austria  Dec.  3,  1936.   9  claims. 
A  method  of  forming  a  colored  photograph 
by  incorporating  a  coupling  derivative  in 
an  emulsion,  forming  a  dye  by  the  action 
of  the  developer  removing  the  undeveloped 
coupling   derivative,   and   regenerating  the 
original  vat  dye  in  the  emulsion. 

No.  2,249,542 — Reiialogenation  Process 
of  Color  Photography.  Karl  Schinzel, 
Switzerland,  assignor  to  Eastman  Kodak 
Company.    Original   application  July  3, 


1937.   Divided  and  this  application  Dec. 

5,   1940.     In   Austria  July   7,   1936.     5 

claims. 
A  method  of  producing  color  photographs 
by  developing  the  latent  image  in  a  de- 
veloper which  does  not  affect  the  color 
formers,  removing  the  undeveloped  silver 
halide,  converting  the  silver  images  into 
silver  salt  images  capable  of  re-develop- 
ment, and  developing  them  with  a  color 
forming  developer. 

No.  2,249,606 — Stereophonic  Sound  Re- 
cording System.    Reginald  T.  Friebus, 
assignor    to    Electrical    Research    Prod- 
ucts, Inc.    Application  March  22,  1938. 
8  claims. 
A  method   of  making  stereophonic   sound 
records  by  picking  up  sound  close  to  the 
source,  picking  up  sound  at  a  distance  from 
the  source,  mixing  the  sounds  in  different 
proportions,   and  separately  recording  the 
different  proportions  of  the  mixed  sounds. 

No.   2,249,975 — Apparatus   for   Indicat- 
ing the  Amplitude  of  the  Sound  Rec- 
ord Made  by  a  Sound-Film  Cinemato- 
graph Camera.   Hans  Friedrich  Nissen, 
Germany,    assignor    to    General    Aniline 
&  Film  Corporation.    Application  Octo- 
ber 14,  1938.    In  Germany  October  25, 
1937.   I  claim. 
A  device  in  which  a  portion  of  the  sound 
recording  light  of   a   variable  area   sound 
and   picture  recording  camera  is  reflected 
into  the  view  finder,  the  amplitude  of  the 
sound    determining    its    color   in   the   view 
finder. 

No.  2,251,177 — Optical  System  for  Pho- 
tography   and    Projection.     Richard 
Thomas,   assignor  to  Thomascolor   Cor- 
poration.   Application  July  25,  1939.    6 
claims. 
A  beam  splitter  making  use  of  two  glass 
half-cylinders,  each  of  whose  ends  are  par- 
allel  but  oblique  to  the  axis  of  the  half- 
cylinder,  the  half-cylinders  being  placed  so 
that    their    axes    coincide    and    their    ends 
form  angles  less  than  180  degrees. 

No.   2,251,232— Method  and   Apparatus 
for    Developing    Film.     Herbert    W. 
Houston,  assignor  to  The  Houston  Cor- 
poration,  Los  Angeles,   California.    Ap- 
plication Nov.  7,  1938.    9  claims. 
Apparatus  for  developing  film  comprising, 
in  combination:  a  tank  containing  develop- 
ing solution;   a  developing  chamber  filled 
with  gas  inert  to  said  developing  solution; 
and    means    for    moving    said    film    first 
through  said  developing  solution  and  then 
through  said  developing  chamber. 


TRADEWINDS 

(Continued  from  \mge  23) 

Full  Color  Prints  from 
Kodachrome  Transparencies 

In  1936  Kodak  first  announced  Kodachrome  for 
miniature  cameras  in  35  mm.  and  Bantam  sizes. 
Since  then  inexpensive  color  prints  from  these 
Kodachrome  transparencies  have  been  the  dream 
of  thousands  of  camera  addicts. 

With  the  announcement  of  Kodak  Minicolor 
Prints  from  miniature  Kodachrome  transparencies 
hy  the  Eastman  Kodak  Company,  at  the  National 
Photographic  Convention  in  Chicago,  the  camera 
fans'  dream  has  been  realized. 

Kodak  Minicolor  Prints  are  enlarged  from 
either  35  mm.  or  Bantam  size  Kodachrome  trans- 
parencies by  a  standardized  process  in  the  Kodak 
Laboratories  in  Rochester.  They  are  made  only 
from  Kodachromes  in  2  x  2-inch  mounts  with 
the  standard  central  openings.  Enlargements  are 
available  in  two  sizes.  The  "2X"  size  is  about 
2%  x  3J/4  inches.  On  these  the  corners  are 
rounded  and  there  are  no  margins.  The  larger 
size  "5X"  affords  a  print  5%  x  7-4/5  inches,  and 
prints  are  returned  in  mounts — for  horizontals 
8%  x  WA  inches  and  for  verticals  8%  x  10-9/16 
inches;  the  picture  opening,  or  area,  measuring  5 
x  7V>  inches. 

The  quality  of  the  Minicolor  print  naturally  de- 
pends on  the  quality  of  the  Kodachrome  trans- 
parency from  which  it  is  made.  A  good,  properly 
exposed  transparency  which  will  project  well, 
should  yield  a  good  color  print.  Kodak  Mini- 
color  Prints  contain  dyes  which,  in  common  with 
those  used  in  printers'  inks  and  artists'  paints, 
and  other  similar  materials  may,  in  time,  accord- 
ing to  the  Eastman  Kodak  Company,  change. 
These  prints,  therefore,  will  not  be  replaced  or 
otherwise  warranted  against  any  change  in  color. 
The  dyes  used  in  Kodak  Minicolor  Prints  are 
stated  by  Eastman  Kodak  Company  to  be  as  stable 
as  possible  consistent  with  their  other  require- 
ments. It  is  important  that  the  prints  should  not 
be  exposed  for  long  to  direct  sunlight.  When 
they  are  used  for  display  they  should  be  shielded 
from  the  direct   rays  of  the  sun. 

The  "feel"  of  a  Kodak  Minicolor  Print,  parti- 
cularly in  the  smaller  size,  is  that  of  an  unusually 
fine  playing  card,  strong,  attractive,  and  resilient. 
The  print  support,  or  base,  however,  is  not  paper 
or  card,  but  pigmented  cellulose  acetate. 

It  cannot  be  expected  that  Minicolor  Prints 
will  supplant  the  projected  Kodachrome  trans- 
parencies, but  this  new  offering  of  Kodak  bridges 
a  gap  that  will  be  well  traveled  in  the  future 
because  there  are  endless  uses  for  these  color 
prints. 

The  "2X,"  2%  x  3%  inch  Minicolor  prints  are 
seventy-five  cents  each,  and  the  larger  "5X,  $3.50, 
including  mounts. 

Kodak  Minicolor  Prints  will  be  available 
through  dealers  in  September. 

New  Color  Process 
Announced  by  Eastman 

For  decades  photographers,  scientists,  and  re- 
search men  have  sought  a  simplified,  direct  method 
of  full-color  photography. 

With  the  introduction  in  1935  of  Kodachrome 
Film  for  amateur  movies,  there  was  one  step  for- 
ward in  simplified  color  photography.  This  was 
followed  in  1936  by  Kodachrome  for  miniature 
cameras  in  35  mm.  and  Bantam  sizes,  and  in  1938 
Kodachrome  Professional  Film  ranging  in  size 
from  2%  x  3%  up  to  11  x  14. 

These  materials  popularized  color  reproduction, 
and  the  public  became  color  conscious  in  all  its 
forms.  Only  one  thing  was  lacking — a  simple 
and  practical  method  of  making  color  prints,  but 
today  that   gap  has  been  bridged. 

With  the  introduction  of  a  new  color  print 
process — Kotavachrome  Professional  Prints  at  the 
National  Photographic-  Convention  in  Chicago — 
Kodak  steps  still  further  in  the  lead  in  photo- 
graphic  and   color   research   and    development. 

Kotavachrome  Professional  Prints  are  repro- 
duced from  Kodachrome  Professional  Film  Trans- 


24 


parencies  and  must  be  made  by  the  Eastman 
Kodak  Company  Rochester  Laboratories.  Kotava- 
chrome  Professional  Prints  will  appeal  to  adver- 
tisers, commercial  and  industrial  concerns  who 
seek  the  high  quality  full-color  prints  for  en- 
gravings, displays,  convention  exhibits,  etc.  They 
lend  themselves  admirably  to  the  story-telling, 
product-in-use  type  of  presentations  for  sales  port- 
folios, and  architects,  interior  decorators,  land- 
scape gardeners  will  be  able  as  never  before  to 
present   full-color  illustrations  of  their  work. 

Kotavachrome  Professional  Prints  contain  dyes 
which,  in  common  with  those  used  in  printers" 
inks,  artists'  paints,  and  other  similar  materials, 
may,  in  time,  according  to  the  Eastman  Kodak 
Company,  change.  These  prints,  therefore,  will 
not  be  replaced  or  otherwise  warranted  against 
any  change  in  color.  The  dyes  used  in  Kotava- 
chrome Professional  Prints  are  stated  by  the  East- 
man Kodak  Company  to  be  as  stable  as  possible 
consistent  with  their  other  requirements.  It  is 
important  that  the  prints  should  not  be  exposed 
for  long  to  direct  sunlight.  When  they  are  used 
for  display  they  should  be  shielded  from  the 
direct  rays  of  the  sun. 

Kotavachrome  Professional  Prints  can  be  made 
up  to  30  x  401  inches,  a  size  never  before  success- 
fully obtained  in  full  color  prints. 

For  personal,  or  private  use.  Kotavachrome 
prints  of  landscapes,  seascapes,  and  general  views 
on  walls  or  tables,  will  add  much  to  the  beauty 
of   home   interiors. 

Kotavachrome  prints  will  be  made  by  Eastman 
by  the  Kodavachrome  process  in  the  sizes  listed 
below.  They  will  be  made  from  all  sizes  of 
Kodachrome  Professional  Film  Transparencies  ex- 
cept 45  x  107  mm.,  6  x  13  cm.,  and  11  x  14 
inches.  The  maximum  enlargement  from  any 
transparency  is  limited  to  six  diameters.  Trans- 
parencies may  be  cropped.  If  this  is  desired,  it 
is  only  necessary  to  indicate  clearly  by  an  overlay 
accompanying  the   transparency. 

Prices  for  Kotavachrome  Professional  Prints 
are: 

Size   8x10        11x14       14x17       16x20 

Price  per  print. .$12.00       $17.50       $25.00       $33.00 

*   6.00  9.50        14.00         18.50 

Size   18x22       20x24       24x30       30x40 

Price  per  print. .$39.00       $45.00       $66.00       $90.00 

*   22.50        27.00        40.00        60.00 


'Additional  prints  from  same  transparencies 
when  ordered  at  same  time. 

Kotavachrome  Professional  Prints  will  be  avail- 
able through  dealers  in  September. 

New  B  &  J  4x5  Press  Camera 

Burke  &  James,  Inc..  are  now  placing  on  the 
market  a  new  Press  Camera  in  the  popular  4x5- 
inch  size. 

The  camera  features  a  durable,  double  exten- 
sion bellows  with  heavy  self-aligning  V  groove 
focusing  track.  A  large  size  removable  lensboard 
permits  instant  interchange  of  lenses.  The  lens 
standard  is  fitted  with  adjustments  for  lateral 
side  shift,  extreme  rise  and  fall  as  well  as  swing 
and  tilt.  In  addition,  the  beds  of  the  camera  may 
be  dropped,  providing  an  extra  valuable  adjust- 
ment for  unusual  angle  work. 

The  Camera  back  is  fitted  with  an  all  around, 
folding  type  focusing  hood.  The  ground  glass 
focusing  panel  is  a  full  4x5  inches  in  size — per- 
mitting accurate  examination  of  the  image  to  the 
very  corners  of  the  plate.  A  unique  system  of 
ventilation  eliminates  the  need  for  cutting  the 
corners  of  the  ground  glass.  The  camera  back  is 
of  the  revolving  type,  permanenty  attached  to  the 
camera  body.  It  may  be  rotated  from  horizontal 
to  vertical  position  instantly.  A  telescopic  type 
view  finder,  mounted  on  the  top  of  the  camera, 
is  fitted  with  a  compensating  adjustment  for 
parallax. 

The  camera  body  and  bed  are  of  light  weight 
aeroplane  metal  construction — leather  covered — 
no  wood  parts  being  used.  All  standard  press  ac- 
cessories such  as  range  finder  and  flash  equipment 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY  DETAIL 

Immediate  Delivery 


HOLLYWOOD   USERS    CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

•  SENSITESTER— For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


Cable  address:  ARTREEVES 


1515  Cahuenga  Blvd. 


Hollywood.  California,  U.  S.  A. 


may  be  added — and  as  this  equipment  mounts 
directly  to  the  metal  body,  it  may  be  securely 
anchored  in  position.  The  tripod  socket  is  of 
extra  heavy  design,  centered  in  a  large  metal  plate 
that  is  securely  riveted  to  the  camera  body. 

This  nw  B  &  J  4x5  Press  Camera  will  sell  for 
$49.50,  less  lens  and  press  accessories.  Full  in- 
formation and  descriptive  literature  may  be  ob- 
tained from  Burke  &  James,  Inc.,  223  W.  Madi- 
son  Street,  Chicago,  Illinois. 


"No  Relation  to  Persons  .  .  .  '" 

The  old  saw  about  "this  has  no  relation 
to  persons  living  or  dead"  is  definitely  con- 
tradicted by  the  majority  of  character  and 
business  names  in  most  films. 

In  many  20th  Century-Fox  films  sets, 
signs  carry  the  name  "Weinberger  Clothing 
Co."  or  "Weinberger  Brewery."  Assistant 
Director  Henry  Weinberger  is  the  donor  of 
the  name  in  this  case. 

In  another  recent  film,  a  very  nasty 
character  was  named  "Charley  Hall."  The 
owner  of  this  name  is  an  assistant  director 
at  the  same  studio. 

The  reason  for  this  is  that  in  any  case 
where  someone  might  offer  a  possible  ob- 
jection to  the  use  of  a  name,  a  name  for 
the  purpose  is  "borrowed"  from  someone 
on  the  studio  lot. 

In  one  recent  picture,  the  names  on  tomb- 
stones in  a  gangster  section  of  a  graveyard 
read  practically  as  a  roster  of  the  studio's 
assistant  directors.  But  they  don't  seem 
to  mind. 


TELEVISION 

(Continued  from  page  17) 

Don  Lee  Broadcasting  System,  is  the  oper- 
ation of  a  number  of  television  receivers 
in  public  places  in  Los  Angeles,  Holly- 
wood and  Santa  Monca.  These  receivers 
are  located  in  the  lobbies,  bars  or  grills  of 
outstanding  hotels  and  restaurants.  A 
score  of  persons  are  usually  found  around 
each  of  these  receivers  during  the  telecasts. 
The  locations  in  Los  Angeles  and  Holly- 
wood follow:  Wilshire  Brown  Derby,  3377 
Wilshire  Blvd.;  Kiefer's  Pine  Knot  Drive- 
in,  8505  Santa  Monica  Blvd.;  Vine  Brown 
Derby,  1268  Vine  St.;  Griffith  Planetarium, 
East  Hall,  Griffith  Park;  Hollywood  Roose- 
velt Hotel,  7000  Hollywood  Blvd.;  Town 
House,  639  So.  Commonwealth;  William 
Penn  Hotel,  2208  West  8th  St.;  and  in 
Santa  Monica  at  the  Miramar  Hotel. 

Production  Rush  Starts  at  RKO 

Under  the  new  regime  headed  by  Joseph 
I.  Breen,  vice-president  in  charge  of  pro- 
duction. RKO  Radio  will  put  more  pic- 
tures before  the  cameras  from  August  1st 
to  October  1st  than  ever  have  been  started 
in  any  similar  period  in  the  studio's  history. 

Breen  and  his  executive  producers,  Sol 
Lesser  and  J.  R.  McDonough,  have  lined  up 
a  program  of  ten  pictures  that  will  tax  the 
Gower  Street  studio  stage  space  to  the  ut- 
most and  carry  over  to  the  RKO  Pathe  lot 
and  the  RKO  Ranch. 


International  Photographer  for  September,  1941 


25 


BOOKS 


Reviewed  by  Ernest   Baehraeh 


Phew!  Five  books  this  month  and  tough 
chewin'.  But  all  for  the  shelf  with  one  ex- 
ception. 

In   their   "How   to   do    it"   series   The 
Studio   Publications   offers   for   $3.50   a 
102-page  book,  "Designing  for  Motion 
Pictures,"  by  Edward  Carrick. 
An  excellent   piece  of  work,   especially 
for  the  8  and  16  mm  amateur  fans,  also  for 
those  who  wish  a  reference  book  on  their 
shelves.    The  title  is  quite  misleading,  for 
anyone  reading  this  book  will  have  gleaned 
from  its  pages  information  concerning  al- 
most every  phase  of  the  business  of  making 
a  successful  and  artistic  picture. 

Fortunately  the  author  confesses  in  his 
acknowledgments  that  the  compilation  is 
largely  due  to  aid  given  him  by  ranking 
technicians  of  the  film  world,  carpenters, 
scenic  artists,  drape  men,  effects,  decora- 
tors, art  directors,  cameramen,  etc. 

Briefly,  the  book  instructs  or  imparts  ap- 
proach, plotting,  materials,  angles,  short 
cuts  and  many  other  requisites  in  the  mak- 
ing of  a  successful  picture,  short  or  other- 
wise. Well  illustrated,  approximately  sev- 
enty, and  loaded  with  recipes  ( long  con- 
sidered studio  secrets ) ,  this  volume  may  be 
considered  a  MUST  for  the  shelf. 

"The      Amateur      Photographer's 
Handbook,"    by    A.    Frederick    Collins. 
Price    $2.50.     392    pages.    Thomas    Y. 
Crowell  Company,  publishers. 
To  the  beginner  an  encyclopedia,  to  the 
initiated  a  swell  reference  book.    Checked 
the  worth  of  this  book  by  the  quiz  contest 
method   with   friends  of  mine   in   the   pro- 
fession.    Not    only    was    there    an    answer 
contained   therein,   but   it   was   given   with 
detail  and  simplicity. 

Space  is  lacking  to  impart  the  contents, 
but  will  say  that  profusely  diagrammed 
and  illustrated,  this  book  is  well  worth 
having,  especially  if  you  "haven't  kept 
up."  I  know  that  the  author  has  done  con- 
siderable research  in  the  field  and  his  find- 
ings are  based  on  the  practice  and  expe- 
rience of  men  best  qualified  to  supply  him 
with  the  information. 

"The  Art  of  Retouching  and  Im- 
proving   Negatives  and   Prints,"   14th 
edition    revised,    by   Johnson    and    Ham- 
mond, price  $2.50,  published  by  Amer- 
ican Photographic  Publishing  Company. 
A  very  fine  book  embracing  practically 
every  angle  of  an  art  I  or  craft )   that  is  so 
little  understood.    Kvery   usable  method   is 
explained   in   detail;   in   fact,   so   much   so 
that  I  could  sit  right  down  now  and  do  a 
first  class  job  on  the  toughest! 

Some  of  the  contents  that  may  interest 
the  prospective  purchaser  deal  with:   Use 


of  make-up;  other  applications  and  meth- 
ods of  retouching;  use  of  the  airbrush 
( much  abused  usually ) ,  and  last,  but  not 
least,  the  book  abounds  with  so-called 
"tricks." 

A  word  of  caution  in  conclusion :  The 
author,  having  given  the  reader  this  knowl- 
edge, implies  that  the  subject  is  one  of  in- 
telligent approach  rather  than  of  down- 
right hard  work. 

"Kodachrome,"  a  data  book  on  pho- 
tography in  color,  published  by  the 
Eastman  Kodak  Company,  price  25  cents. 
52  pages. 

A  revised  edition  of  their  handbook, 
Eastman  here  has  given  us  the  answers  to 
many  of  our  difficulties  with  Kodachrome, 
or  let  us  say  to  some  extent  color  pho- 
tography. 

New  film  speeds,  revised  tables,  prices 
and  approach  for  the  various  types  of  this 
film.  Don't  remember  the  last  booklet  well, 
but  it  seems  to  me  this  one  is  more  com- 
prehensive in  its  entirety. 

After  careful  reading  I  can  safely  say  to 
anyone  using  or  intending  to  use  Koda- 
chrome, get  out  your  two-bits,  buy  the 
booklet  and  save  yourself  many  dollars. 
Your  color  will  be  much  better! 

"Chemistry  for  Photographers," 
by  Allen  R.  Greenleaf,  172  pages,  pub- 
lished by  American  Publishing  Com- 
pany, price  $2.00. 

Here  is  a  book  for  one  that  is  truly 
lazy.  Almost  every  bit  of  information  con- 
tained therein  can  be  found  in  your  film 
and  sensitized  paper  packages.  Photo  pe- 
riodicals, Eastman  Kodak's  "Elementary 
Chemistry  for  Photographers"  take  care  of 
the  rest. 

The  arm  chair  "photog"  undoubtedly 
will  say  this  book  is  necessary  to  our 
shelf;  it  deals  with  photochemistry.  Then 
I  will  say — let  us  find  a  nobler  work  or — 
for  the  layman,  a  simpler  one.  There  are 
too  many  books  of  this  type,  unpurchased, 
at  your  dealers.    "Not  for  our  shelf." 


tf 


"sweet  sclliNq 

(Continued  from  page  18) 


state,  so  that  consumers  may  easily  identify 
them.  An  unusually  fine  musical  back- 
ground accompanied  the  picture.  "Wash- 
ington First  In  Apples"  has  received  im- 
mediate response  in  all  audiences  who  have 
seen  it,  Mr.  Blackburn  reports,  and  in  addi- 
tion tlie  film  is  enjoying  wide  distribution 
in    schools    because    its   scenic    and   educa- 


tional value  is  only  slightly  less  than  its 
ability  to  merchandise  the  Washington 
apple  crop. 

Mr.  Blackburn  next  projected  the  petro- 
leum research  movie,  "Oil  For  Aladdin's 
Lamp."  This  subject  is  one  of  the  latest 
releases  made  for  the  Shell  Oil  Company, 
and  is  one  of  a  series  known  as  "Shell 
Progress  In  Pictures."  For  this  production, 
35  millimeter  standard  theatrical  size  nega- 
tive was  used  from  which  black-and-white 
16  millimeter  reduction  prints  were  made. 
Its  length  is  1200  feet.  With  script  by  Nor- 
man Blackburn  and  John  Eugene  Hasty,  the 
production  was  directed  by  Joris  Ivens, 
with  Floyd  Crosby  at  the  camera.  Harlow 
Wilcox  does  the  commentary.  An  excellent, 
interpretative  musical  score  heightens  the 
effect  of  the  picture. 

Assuredly,  "Oil  For  Aladdin's  Lamp" 
was  an  ambitious  undertaking  in  business 
film  production  for,  while  covering  a  diffi- 
cult scientific  subject,  it  had  to  be  made 
so  it  would  appeal  to  oil  dealers  and  lay- 
men alike.  That  the  assignment  was  well 
done  is  evidenced  by  the  completed  pic- 
ture. It's  an  intriguing  film,  told  in  easily 
understood  sequences,  of  the  scientific  dis- 
coveries and  experiments  which  are  being 
made  at  the  great  $3,500,000  laboratory  of 
the  Shell  Development  Company,  located 
at  Emeryville,  in  northern  California.  The 
sizeable  task  of  transferring  to  the  screen 
the  progress  of  science,  and  of  scientific 
experiments  affecting  everyday  life,  was 
accomplished  in  only  nine  days  of  actual 
shooting,  although  advance  work  on  the 
script  required  weeks  of  research. 

Right  before  one's  very  eyes  parade  such 
a  skillful  array  of  startling  experiments 
that  you  feel  like  looking  around  for  the 
magic  wand  that  produced  them.  You  ex- 
pected to  witness  technical  abstractions  a 
laymen  wouldn't  understand — but — instead, 
you  see  synthetic  clothing  and  milady's 
jewelry  produced  from  petroleum!  Amaz- 
ed you  are  by  various  forms  of  plastic 
materials  that  come  from  oil,  and  lucite 
plastic  that  causes  a  beam  of  light  to  bend 
around  a  corner!  You  see  a  laboratory 
"weather-maker"  that  reproduces  the  var- 
ious climatic  conditions  of  the  universe,  at 
the  touch  of  a  button!  But  you  are  sure 
you're  "seeing  things"  when,  with  a  fluid 
mixture,  a  laboratory  scientist  proceeds  to 
"bounce"  the  contents  on  a  table!  .  .  . 
synthetic  rubber  has  been  made  right  then 
and  there  before  you. 

So  engrossing  is  "Oil  For  Aladdin's 
Lamp,"  plans  are  under  way  to  re-cut  and 
re-edit  it  and  give  the  revised  edition  a 
theatrical  presentation  in  the  nation's  the- 
atres. As  a  short  subject,  the  film  should 
prove  good  entertainment. 

The  business  of  producing  advertising 
films  is  not  entirely  confined  to  real  per- 
sons, sets  and  things.  Mr.  Blackburn  told 
of  the  use  of  cartoon  films  .  .  .  brief,  lively, 
entertaining  short  shorts  .  .  .  which  also 
are  being  made   for  advertising  sponsors. 


26 


These  "Minute  Movies,"  as  they  are  called, 
running  only  80  seconds  in  screen  time, 
are  produced  with  an  eye  on  the  popularity 
of  such  famed  screen  cartoon  characters  as 
Porkie  Pig  and  Donald  Duck.  National 
advertisers  like  Kraft's  Malted  Milk,  Swifts 
Brookfield  Butter  and  Kelloggs  Rice  Kris- 
pies  use  this  new  medium.  The  character  of 
Goldie,  the  Shell  Oil  Company  droplet, 
was  created  for  a  "Minute  Movie"  series, 
and  Goldie's  amazing  adventures  are  de- 
picted in  animation  in  full-color  Techni- 
color. The  "Minute  Movies"  are  seen  in 
theatres  throughout  America. 

Distribution  of  business  films  is  assured 
by  means  of  nation-wide  distributing  facili- 
ties, comparable  to  standard  theatre  book- 
ing routine.  With  most  present  day  sales 
and  advertising  films  being  reproduced  on 
the  small,  safety  stock  of  16  millimeter, 
and  with  the  improved  manufacture  of  16 
millimeter  sound  on  film  projectors  which 
are  readily  set  up  in  schools,  recreation 
rooms  and  auditoriums,  a  business  film 
sponsor  has  at  his  command  a  potent 
means  for  a  sales  campaign  or  for  instruc- 
tion. In  widely  separated  territories,  at 
ever  increasing  frequency,  movie  presen- 
tations are  being  made  to  dealers,  clubs, 
societies  and  company  conferences.  As 
Norman  Blackburn  pointed  out,  a  business 
film  is  seen  and  heard  by  two  to  five  mil- 
lion persons  a  year! 

Each  Warner  Theatre  To 
Have  Library  of  Screen 

A  Library  of  the  Screen,  with  branches 
in  its  500  theatres  throughout  the  country, 
is  to  be  established  by  Warner  Bros,  next 
fall,  it  was  announced  by  J.  L.  Warner, 
vice  president  of  the  film  company. 

All  the  facilities  and  resources  of  the 
new  nation-wide  institution  will  be  avail- 
able to  the  public  without  charge. 

Each  library  will  be  stocked  with 
material  of  direct  application  to  the  screen. 
It  will  contain  novels  and  historical  works 
already  produced  and  yet  to  be  produced 
by  Warners  and  other  studios,  as  well  as 
texts  and  histories  dealing  with  Hollywood 
and  the  making  of  motion  pictures. 

The  libraries  also  will  feature  volumes 
of  still  photographs  from  famous  Holly- 
wood productions,  including  rare  stills  of 
many  films  of  early  nickelodeon  days.  The 
albums  of  photographs  will  not  be  avail- 
able for  lending  but  interested  fans  will 
be  able  to  examine  the  valuable  collections 
at  the  libraries. 

All  branches  of  the  Library  of  the  Screen 
will  make  substantially  the  same  material 
available  to  the  public.  In  addition  to 
works  already  filmed,  the  libraries  will  be 
augmented  from  time  to  time  as  literary 
works  are  purchased  for  transcription  to 
the  screen. 


A  Cameraman  Turns  to 
NatjonaI  cJeFense  worU 


In  the  July  issue  of  the  "International 
Photographer,"  Rella,  in  his  column  "They 
Say,"  casually  remarks  that  Bill  Draper  in 
his  spare  time  is  supervising  a  machine 
shop  on  defense  work.  It  should  be  added 
that  in  the  time  he  does  not  have  to  spare, 
he  sleeps,  or  tries  to.  Possibly  a  few  re- 
marks about  this  spare-time  job  might  serve 
to  make  other  cameramen  more  contented 
with  their   lot. 

Somewhere  between  Hollywood  and  Los 
Angeles  is  an  imaginary  line,  the  crossing 
of  which  places  one  in  an  entirely  different 
world.  The  people  talk  a  different  langu- 
age. The  struggle  for  existence  is  on  a  much 
more  serious  plane.  Needless  to  say,  it  is 
somewhat  of  a  shock  to  suddenly  find  one- 
self on  the  other  side  of  the  line.  The 
transposition  was  semi-involuntary. 

A  gentleman  who  had  at  one  time  spent 
several  years  in  developing  what  I  called 
an  invention  of  mine,  brought  to  me  a 
glowing  account  of  the  available  business 
and  a  request  that  my  partner  and  I  buy 
for  him  a  bankrupt  machine  shop.  It  look- 
ed like  a  possible  place  when  I  might  call 
at  intervals  to  pick  up  certain  profits  to 
augment  my  motion  picture  salary.  Know- 
ing absolutely  nothing  about  that  business 
I  reasoned  that  I  would  be  of  no  particular 
value  to  the  shop  and  could  carry  on  with 
my  picture  work.  This  might  have  been 
the  procedure  had  not  everything  turned 
out  to  be  exactly  the  opposite  of  what  was 
expected. 

To  begin  with,  our  plans  called  for  a 
brief  announcement  to  the  effect  that  we 
were  ready  to  accept  work,  after  which  we 
were  to  step  back  so  as  to  not  be  trampled 
in  the  rush.  We  made  the  announcement 
but  the  rush  failed  to  materialize.  After  a 
few  weeks  I  decided  to  conduct  a  personal 
investigation  to  determine  whether  or  not 
peace  had  been  declared  and  the  general 
public  not  informed.  The  great  volume 
of  work  coming  from  the  aircraft  com- 
panies was  nowhere  to  be  seen.  It  appears 
that  they  were  in  a  typical  moving  picture 
slump.  Shops  that  had  been  contracted  for 
in  busier  times  were  standing  idle.  This 
interval  of  time  gave  me  an  opportunity  to 
analyze  this  new  world  that  I  was  in. 

Reluctantly  I  realized  that  many  a  move 
in  the  business  world  was  motivated  by 
greed.  Honesty  seemed  only  remotely  ex- 
pected. Conversations  were  pointless  as  no 
one  believed  what  the  other  fellow  said.  It 
was  just  Europe  on  a  small  scale. 

The  next  few  weeks  demonstrated  that 
the  Marquis  of  Queensbury  rules,  to  pro- 
tect yourself  at  all  times,  are  not  confined 


By  William  V.  Draper 

to  a  sporting  world  as  in  business  it  is 
assumed  that  you  are  "doing  as  you  are 
being  done."  Strangely  enough,  after  your 
business  gets  into  motion,  this  condition 
seems  to  fade  away  as  dealing  with  legiti- 
mate houses  goes  to  the  other  extreme. 

The  weeks  that  were  spent  in  wondering 
where,  if  ever,  business  was  coming  from 
parallels  the  struggle  for  a  chance  in  Holly- 
wood, but  has  this  different  twist  at  the 
end.  What  you  have  thought  in  your  hours 
of  desperation  would  be  a  solution  to  your 
problem  becomes  a  bigger  problem  than 
the  struggle  to  keep  the  doors  open. 

An  influx  of  work  immediately  requires 
large  purchases  of  material  and  the  hiring 
of  a  large  staff  of  men.  Almost  overnight 
the  payroll  jumped  from  nothing  to  over 
$1000  a  week.  And  the  excuse  for  not 
going  back  to  pictures,  which  had  been  the 
necessity  of  getting  things  started,  was  sup- 
plemented by  the  necessity  of  digging  up 
money  for  the  payroll,  which  in  turn  was 
supplemented  by  the  necessity  of  sticking 
around  to  see  that  you  did  not  lose  your 
shirt.  What  the  next  excuse  will  be  is  still 
a  mystery,  but  I  have  no  doubt  it  will  be 
a  better  one  than  any  of  the  preceding 
ones. 

The  outstanding  difference  between  these 
two  worlds  is  the  tempo  at  which  men 
work.  Everyone  expects  and  knows  that 
he  must  work  every  minute.  In  the  four 
months  that  I  have  operated  the  shop  I 
don't  suppose  that  the  time  the  collective 
men  have  spent  without  a  job  to  do  would 
total  one-half  a  day-  As  a  matter  of  fact, 
if  a  toolmaker  finds  himself  short  of  work, 
he  will  voluntarily  lay  himself  off.  It  may 
be  that  loafing  is  done  in  larger  institu- 
tions but  it  certainly  isn't  the  practice  in  a 
small  shop.  The  top  pay  for  these  men  is 
less  than  that  of  an  assistant  cameraman. 
This  will  give  you  something  of  an  idea 
of  what  they  are  called  upon  to  do. 

An  airplane  that  may  be  sixty  feet  long 
would  have  its  efficiency  impaired  if  it  did 
not  conform  to  its  design  within  limits  of  a 
relatively  few  thousanths  of  an  inch  over 
its  entire  length.  For  this  reason  all  of  its 
thousands  of  parts  must  be  held  almost 
perfect.  Inasmuch  as  the  parts  themselves 
are  a  product  of  the  tooling,  the  tolerance 
allowed  is  practically  nil. 

Once  in  the  dim  distant  past  I  was  very 
rude  to  an  assistant  director  who  asked  me 
to  expedite  things  by  running  out  of  the 
camera  line  with  the  slate.  Now,  since  see- 
ing how  men  work  in  other  fields,  I  have 
decided  that  some  day  when  I  have  some 
spare  time  in  which  I  am  not  supervising 
national  defense,  I  am  going  to  look  that 
assistant   director   up    and    humbly   apolo- 


International  Photographer  for  September,  1941 


27 


They  SAy-' 


•  San  Rosen  planning  to  name  his  Blessed 
Event  "Retroactive"  to  commemorate  pay- 
ment to  assistant  cameramen  of  all  money 
since  1938  under  the  wage  and  Hour  Law. 

•  Private  Francis  J.  Burgess  now  in  the 
photographic  section  of  the  Air  Corps  Ad- 
vanced Flying  School  at  Stockton  Field, 
California.  Brother  Burgess  requests  that 
all  communications  be  addressed  to  Private 
Francis  J.  Burgess,  United  States  Air  Corps, 
68th  Air  Base,  74th  Material,  Stockton, 
California.  Burgess  is  doing  considerable 
ground  and  aerial  photography  and  is 
pleased  with  the  results  of  his  work. 

•  Jack  Russell  making  predictions  that  he 
will  become  the  father  of  a  little  girl. 

•  At  Carson  City,  Nevada,  on  the  Para- 
mount Production,  "Remarkable  Andrew" 
are  Theodor  Sparkuhl,  first  cameraman; 
James  Knott,  second;  Lathrop  Worth,  as- 
sistant; Guy  Bennett,  second;  Charles 
Schoenbaum,  first;  Byron  Seawright,  assist- 
ant; Charles  Russell,  assistant;  Al  St.  Hil- 
aire,  still  cameraman. 

•  Chalmer  Sinkey,  Fox  Movietone  news- 
reeler  in  the  Northwest,  has  returned  from 
travels  east  of  the  mountains  and  high  on 
the  glaciers  of  Mt.  Ranier.  Despite  all  this 
traveling  Newsreeler  Sinkey  is  doing  a  fine 
job  of  stewardship  in  the  Northwest  re- 
gion. 

•  Dan  Fapp,  first  cameraman,  shooting 
an  Aldrich  picture  at  Paramount  Studio. 
It  is  his  even  temperament  and  considerate 
disposition,  as  well  as  his  training  and  skill, 
that  makes  Dan  so  eligible  for  top  honors 
in  the  camera  field. 

•  This  column  does  not  like  to  resort  to 
personalities,  but  it  seems  the  job  would  be 
undone  if  something  was  not  said  about 
cameramen  Leo  Tover,  John  Mescal,  Harry 
Stradling,  Lee  Garmes,  Milt  Krasner,  Bob 
De  Grasse,  and  Jack  McKenzie  (with  apol- 
ogies to  many  others  whose  names  are  not 
mentioned )  for  the  genial  and  understand- 
ing way  in  which  they  conduct  themselves 
with  their  crews,  all  of  which  makes  work 
easier  and  more  pleasant.  Pressure  in  the 
motion  picture  business  is  of  itself  quite 
heavy — instructions  from  a  superior  who 
understands  the  problems  of  the  subordin- 
ate, when  given  in  a  tactful  manner,  make 
life  so  much  easier  for  those  who  respond 
through  orders.  Thus  it  is  that  speaking 
for  the  hundreds  of  workers  a  word  of 
thanks  is  conveyed  through  this  medium 
to  those  who  do  try  to  remember  the  diffi- 
culties of  the  other  man. 

•  Compliments  being  received  by  Interna- 
tional Photographer  on  the  publication  re- 
cently of  an  article  on  Infra-red  Photog- 
raphy written  hy  Ted  Sparkuhl.  It  was  the 
first  true  study  of  infra-red  given  in  a  sim- 
plified manner. 


By  RELLA 

•  Joe  Valentine  probably  can  tell  many 
people  how  success  in  the  picture  business 
is  an  unpredictable  event.  Joe  went  along 
for  a  number  of  years  struggling  to  get 
through  the  Maginot  line  in  the  picture 
business.  Suddenly,  like  a  meteor  out  of  the 
sky,  Joe  was  hailed  here  and  there  as  being 
able  to  more  than  hold  his  own  with  the 
best  of  them. 

•  M.  B.  Paul  was  associated  with  Maurice 
Seymour  Studios  in  Chicago,  biggest  the- 
atrical photographers  in  the  country.  It 
was  when  he  was  with  that  company  that 
Paul  started  first  full  picture  service  for 
radio  networks. 

•  "Pigeon  Bring  Message,"  that  snappy 
column  in  Republic  Insider,  is  written  by 
Ray  Flinsky. 

•  Monte  Steadman,  who  has  been  an  as- 
sistant at  Republic  for  many  years,  is  tak- 
ing his  first  vacation  in  about  ten  years. 

•  Bill  Nobels  has  returned  to  Republic 
to  the  extent  of  shooting  one  picture  a 
month.  That's  what  a  ranch  in  the  valley 
will  do. 

•  Ellis  Thackery  and  Dave  Smith  back 
from  Florida  where  they  spent  four  weeks 
shooting  under-water  pictures  for  Republic. 
Chamber  of  Commerce  of  Southern  Cali- 
fornia  ought  to   give  them   "gold   cards." 

•  Virgil  Miller,  contract  ace  cameraman, 
Twentieth  Century-Fox,  is  a  graduate  of 
Kansas  State  University,  holding  the  de- 
gree of  Bachelor  of  Science  and  Electrical 
Engineer.  He  taught  Electrical  Engineering 
and  Physics  at  Kansas  State.  Of  unusual 
interest  is  that  his  son  Joaquin  holds  Bach- 
elor of  Arts  and  Master  of  Arts,  U.C.L.A. 
and  U.S.C. ;  Loren,  another  son,  is  a  grad- 
uate of  Occidental  College;  Harlan  is  a 
student  at  U.C.L.A.  and  Wendell  graduated 
from  Cal  Tech  with  highest  honors  ever 
awarded  a  student. 

•  Off  to  Fort  Knox  are  Jack  Smith,  Llovd 
Knechtel,  Kyme  Mead,  Ray  Ramsey,  Mat 
Klucznik  and  Bert  Eason. 

•  England's  censors  relaxed  their  strict- 
ness recently  to  permit  details  to  reach 
Hollywood  about  the  death  of  two  camera- 
men who  were  filming  footage  over  the 
British  Isles  for  "A  Yank  In  the  R.A.F.", 
which  Darryl  F.  Zanuck  is  producing  for 
20th  Century-Fox. 

The  studio's  London  executives  advised 
that  Cameraman  Otto  Kanturek  and  his  as- 
sistant, Jack  Perry,  went  up  in  a  commer- 
cial plane  with  several  English  Spitfires 
over  the  Bristol  region. 

Kanturek,  who  photographed  "Night 
Train"  and  "The  Girl  In  the  News"  for 
20th  Century-Fox,  had  asked  studio  heads 
to  allow  him  to  get  actual  shots  of  dog- 
fights over  England. 

London  advised  that  the  Spitfires  ran 
into  a  covey  of  German  fighters.  One  Spit- 
fire brought  down  a  Jerry  while  Kanturek 


filmed  the  scene.  A  German  made  a  hit  on 
a  Spitfire,  but  the  pilot  bailed  to  safety. 
Another  German  fighter  bore  down  on  the 
tail  of  Kanturek's  plane,  which  was  un- 
armed, and  riddled  it  with  machine  gun 
fire.  The  ship  crashed  to  earth,  killing 
Kanturek,  Perry  and  the  pilot. 

When  Kanturek  was  in  Hollywood,  he 
conferred  at  length  with  Director  Henry 
King,  who  is  directing  "A  Yank  In  the 
R.A.F.",  which  is  a  Tyrone  Power-Betty 
Grable  picture. 

Binghamton  Technical  Section 
of  Photographic  Society  Organized 

A  Binghamton  Technical  Section  of  the 
Photographic  Society  of  America  has  been 
organized  in  Binghamton,  New  York.  At 
the  organization  meeting  held  on  May  28, 
and  attended  by  53  members,  the  follow- 
ing officers  were  elected: 

Chairman,  Lloyd  E.  Varden;  Vice-Chair- 
man, Fred  Jayne;  Secretary-Treasurer, 
Walter  Lester;  Members-at-Large,  Ira  Cur- 
rent, Frank  Fiaschette. 

Mr.  Fred  Quellmalz  and  Mr.  Don  Loving 
of  the  National  Organization  officially  wel- 
comed the  new  members  and  outlined  the 
limitless  possibilities  of  such  a  group. 

The  Binghamton  group  is  composed 
mainly  of  technicians  and  enginers  in  the 
photographic  industry;  although  others  are 
expected  to  increase  the  scope  and  strength 
of  the  organization. 

RKO  Establishes  Junior  Writing  Dept. 

Starting  immediately,  RKO  Radio  Pic- 
tures will  launch  a  search  for  "junior" 
writing  talent  to  augment  the  studio  sce- 
nario staff.  The  talent  will  be  gleaned  from 
universities,  newspapers  and  from  the 
ranks  of  young  writers  just  breaking  suc- 
cessfully into  the  magazine  field. 

In  charge  of  formulating  and  putting  the 
plan  into  operation  will  be  Collier  Young, 
head  of  RKO  Radio's  Hollywood  studio 
story  department. 

CLASSIFIED 

WANTED  TO  BUY  FOR  CASH  EYEMO 
CAMERA.  Box  L-64,  International  Photo- 
grapher,   6461    Sunset    Blvd.,    Hollywood. 

FOR  SALE:  LIKE  NEW  AKELEY  CAMERA  and 
tripod,  complete  with  Mitchell  legs.  2-in.  Kino  Plas- 
mat  F.-1.5  lens  in  Mitchell  focusing  mount,  5  mag- 
azines and  case,  accessory  case,  camera  case,  Goerz 
Iris  and  matte  box  complete,  inside  filter  holder 
with  filter  and  gauzes,  roller  plate  gate.  Make  offer. 
Box   S-20. 

FOR  SALE— DeBrie  Model  H  Camera— 2-in.  F3.5 
Tessar  Lens — four  magazines — tripod  cases — just  over- 
hauled—$200.00  cash.  J.  Sandstone,  204  Northampton 
St.,   Buffalo.  N.   Y. 

WANTED  TO  BUY  FOR  CASH— Bell  &  Howell  Cam- 
era  complete.    Box  L-61,  International  Photographer. 


Subscribe  Now! 

INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A..  $3.00  in  Europe  and  Canada 


28 


GUARDIANS 
OF  QUALITY 


EASTMAN  negative  films — in  their  re- 
spective fields — faithfully  record  the 
astonishing  beauty  of  modern  screen 
productions.  In  fact,  the  films'  ability 
to  more  than  keep  pace  has  had  a  lot 
to  do  with  the  general  improvement 
in  quality.  Eastman  Kodak  Company, 
Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


plus-x  super-: 

for  general  studio  use  when  little  light  is  available 

BA<  KGROVND-X 

for  backgrounds  and  general  exterior  work 

EASTMAN  NEGATIVE  FILMS 


Meet  tU&  liJuwue/ii! 


SOL  POLITO,  A.S.C. 

( Production  ) 


ARTHUR  EDESON,  A.S.C. 

( Battle  Sequences) 


TTHglfeJEIFQICTil     CRITICS'   PREVIEW   POLL   FOR  JULY 


BEST  PHOTOGRAPHY 


\i 


SERGEANT  YORK 

(The  Jesse  Lasky-Warner  Bros.  Production) 


§ 


EASTMAN  FILMS 

BRULATOUR  SERVICE 


DHOTOqRApHER 


OCTObERf  1941 


25  CENTS 


'HOW  GREEN  WAS  MY  VALLEY' 


GENE  KORNMANN 


Night    Shots    by    Daylight 


INFRA  D 


Infra  D  negative  simulates  most  realistically  the  effect 
of  night.  Exposed  by  daylight  with  appropriate  filters, 
its  spectral  response  eliminates  the  white  foliage  usually 
associated  with  pure  infra-red  photography.  The  con- 
trast is  normal;  the  speed,  sufficient  to  achieve  good 
depth  of  field.  Use  Infra  D  (type  105)  for  night-effects 
and  retain  the  convenience  and  economy  of  daytime 
production  schedules.  Du  Pont  Film  Manufacturing 
Corp.,  New  York.      Smith  &.  Aller,  Ltd.,  Hollywood. 


International 

phOTOQRApkER 


Vol.  XIII 


October,  1941 


LEADING  ARTICLES  IN  THIS  ISSUE 


No.    9 


South  on  a  Tuna  Clipper,  Doyle — Page  3 
They  Must  be  Sharp,  Doolittle — Page  8 
S.M.P.E.  Convention— Page  20 


PICTORIAL  FEATURES 

-Page  2 


-Page  6 


Henshaw  Lake,  Mortensen- 

Virginia  Lake,  St.  Hilaire- 

"Reap  the  Wild  Wind,"  Richardson — Page  7 

Frances  Neil,  Bachrach — Page  10 

"Paris  Calling,"  H  opera  ft — Page  11 

"Call  Out  the  Marines,"  Kahle  and  Bachrach — Pages  12  and  13 

"How  Green  Was  My  Valley,"  Kornmann — Pages  14  and  15 

Location  in  Florida — Pages  18  and  19 

REGULAR  DEPARTMENTS 


-Page  24 


Television,  Evans- 
Tradewinds — Page  25 
16  MM  Department— Page  27 
Patents,  Fulwider — Page  28 
They  Say,  Rella — Page  28 


Editor,  Herbekt  Aller 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage   Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  Slates  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50:  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.   (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CALOWElt 


On  the  Cover 

Walter  Pidgeon  and  Roddy  McDowall  in 
scene  from  "How  Green  Was  My  Valley," 
produced  by  Darryl  F.  Zanuck,  20th  Cen- 
tury Fox. 


Efficient  Courteous 

Service 

■ 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


Subscribe  Now/ 
INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A.,  $3.00  in  Europe  and  Canada 


to     w 

CD      CD 

3      3 

CO      to 

CO        CO 

■'-'      "•""* 

0 

CN     <N 

O 

O    O 

CO 

0     0 

si 

0    o 

a)    a> 
a    c 
o    o 

o  f 

(-.    t-i 

o   £ 

2  * 

o    o 

LO       LO 

Ph     -o 

03     CM 

H       X 

m  v* 

2  -d" 

CO 

O  S    "* 

T3    £ 

8   2 

m 

D    S 

J2    6 

(-< 

C    § 

u    — 

w          ~0 

*->   w 

c   ^ 

w           <£ 

CD 

W    CQ          2          c         IS 

~r-i     <° 

1 1      ID 

Narr 
Busi 
Strei 
Citv 

$p5D 

A  YEAR 

International  Photographer  for  October,  1941 


Henshaw  Lak< — J  941 


William  Mortensen 


Negative  21/,  by  :*'/,,  super  pan  press.    Bromoil  Transfer  printed  on  hand  made  Bar- 
celona Laid  paper,   hiked  with  electric  brush. 


somrh  on  a  tuna  clippER 


By  Michael  Doyle,  Jr. 


On  our  way  out  of  San  Diego  Harbor, 
i  our  ship  was  first  stopped  and  boarded  by 
a  patrol  boat  from  the  cruiser  "Louis- 
ville," the  officer  of  which  examined  our 
papers  and  allowed  us  to  proceed;  then, 
almost  being  landed  on  by  a  Navy  patrol 
bomber  practising  night  landings  in  the 
harbor  channel,  we  started  south  to  the 
fishing  banks  off  the  southern  coast  of 
Lower  California — four  days'  voyage. 

I  had  been  commissioned  by  the  studio 
to  get  scenes  of  tuna  fishing  in  actual  sur- 
roundings and  after  chasing  around  San 
Diego  for  a  week,  looking  at  a  dozen  boats, 
I  received  permission  from  Captain  Luigi 
Guidi  to  make  the  trip  on  his  boat,  the 
"Kathryn,"  a  diesel  bait  fisher  of  sixty-five 
feet;  carrying  a  crew  of  eight. 

After  waiting  more  or  less  patiently  for 
a  week  for  the  Captain  to  decide  to  sail, 
he  set  the  time  for  the  next  Sunday  night. 
Saturday  morning,  at  eleven,  he  called  me 
at  the  hotel  and  told  me  that  we  would 
need  passports  to  go  down  into  Mexican 
waters  and  small  photographs  to  go  on  the 
passports.  We  dashed  out  to  the  galleries. 
Every  soldier  at  Camp  Callan,  every  sailor 
at  the  naval  base  and  every  marine  must 
have  decided  to  have  his  picture  taken  that 
day.  Several  hours  later,  we  had  the  un- 
developed negatives  wrapped  in  a  package. 
Then  began  the  hunt  for  a  place  to  have 
them  developed  and  printed.  More  hours 
passed.  About  to  give  up,  we  came  to  a 
man  doing  a  gallery  business  over  a  drug 
store.  He  turned  us  down  because  he  was 
too  busy.  Then  someone  mentioned  mov- 
ies. "Are  you  in  the  movies?"  We  an- 
swered "Yes."  "Well,"  he  said,  "I  used 
to  work  at  Paramount,  twenty  years  ago. 
Wait  a  minute,  maybe  I  can  squeeze  your 
work  in.    Come  back  in  half  an  hour." 

The  Mexican  Consulate  was  closed  by 
then  so  our  sailing  date  was  postponed  to 
Monday.  That  was  fine  but  that  Monday 
was  a  Mexican  legal  holiday,  so  the  Con- 
sulate wouldn't  be  open  till  Tuesday.  So, 
keeping  our  fingers  crossed,  we  were  to 
sail  Tuesday  night.  We  must  have  un- 
crossed them  for  a  moment,  because  at 
1 :00  P.M.  it  was  discovered  we  didn't  have 
permission  of  our  local  draft  boards  to 
leave  the  United  States. 

Telegrams,  long  distance  phone  calls, 
biting  of  nails,  and  at  5:00  P.M.  came  the 
word.  We  had  permission  to  leave  for 
four  weeks. 

So   it   was   somewhat   worn   and   a   little 


limp  when  we  realized  we  had  passed  Point 
Loma  and  Coronado  and  the  boat  began 
to  roll. 

Sitting  in  the  galley,  it  sounded  as 
though  the  deck  were  awash;  looking  out, 
I  was  astonished  to  see  that  it  actually  was. 
The  Captain  informed  me  that  it  always 
was  awash  at  sea  from  amidships  aft  and 
in  heavy  weather  the  stern  wasn't  v'sible. 
The  boat  acted  like  a  cross  between  a  sub- 
marine and  a  destroyer. 

Three  days  south,  we  put  into  Blanca 
Bay  to  seine  for  anchovies  and  sardines 
that  were  to  be  used  as  bait  on  the  banks. 
We  photographed  this  from  every  conceiv- 
able angle,  from  the  top  of  the  wooden 
awning  over  the  bait  tanks,  down  among 
the  fishermen  hauling  up  the  net.  And  the 
Captain  even  put  us  over  the  side  in  a  dory. 
That  was  a  jollv  little  job,  trying  to  keep 
the  people  in  the  finder,  as  the  dory  bobbed 
up  and  down  with  the  swells. 

The  boat  cruised  back  and  forth,  the  net 
piled  in  the  stern,  one  end  tied  to  the  dory, 
ready  to  let  go.  The  man  in  the  crow's 
nest  saw  a  disturbance  on  the  water,  the 
boat  headed  for  it.  the  Captain  yelled  to 
the  man  in  the  boat  who  let  go,  the  net 
payed  out  over  the  stern  as  the  boat  en- 
circled the  school;  when  the  dory  end  of 
the  net  was  handed  up  and  rushed  aft 
where  all  the  men  hauled  it,  hand  over 
hand.  When  the  sack  of  the  net  was  close 
in  board,  an  endless  chain  was  organized, 
the  bait  was  scooped  from  the  net,  passed 
to  the  deck  to  the  bait  tanks  where  it  was 
emptied  out,  then  clown  the  other  side  to 
a  waiting  hand  who  gave  it  to  the  scooper 
at  the  net. 

With  the  bait  tanks  nearly  full,  we  start- 
ed south  again.  The  old  man  cautioned  one 
of  the  men  to  be  sure  the  bait  tank  lights 
were  on.  That  was  a  new  one  to  me.  He 
explained  that  the  lights  were  kept  on  con- 
stantly, one  inside  the  tank  under  water 
and  one  overhead.  That  otherwise  the  bait, 
swimming  constantly  in  circles,  would  go 
crazy  in  the  dark  and  commit  suicide  bv 
dashing  into  the  walls  of  the  tank,  or  pil- 
ing up  and  smothering. 

We  reached  the  banks  a  day  and  a  half 
later.  Carl  Gibson,  the  grip,  had  designed 
and  put  together  an  outrigger  that  would 
extend  five  feet  over  the  rail  of  the  boat. 
In  between  swells,  Carl  managed  to  lash 
the  outrigger  to  the  side  and  on  this  we 
put  the  Bell  and  Howell,  uncovering  only 
the  lens  and  matte  box  long  enough  to 
shoot  a  scene.  At  that,  the  camera  had  to 
be  completely  dismantled  after  each  shot 
and  carried  into  the  galley  to  be  dried  off 
before  it  could  be  unloaded. 

Every  morning  at  4:30,  the  crew  was  up 


Upper:  Doyle  and  the  swordfish  he 
didn't  catch.  Lower:  Port  side 
astern.  Racks  lashed  up  during 
heavy  weather. 


International  Photographer  for  October,  1941 


Top:  Camera  on  outrigger.    Center:  The  chip  "Kathryn"  on  the  way  to  the  banks,  with 
bait  net  drying.    Lower:   Carl  Gibson    (left)   and  Carlo,  the  rook    (right). 


and  took  turns  on  lookout.  The  boat 
cruised  back  and  forth  across  the  banks, 
ninety  to  two-hundred  miles  from  the  main- 
land; sometimes  as  many  as  twenty  boats 
would  be  together,  other  times  no  other 
boat  but  ours  showed  on  the  ocean.  When 
the  lookout  cried  "Tuna!"  every  man 
rushed  to  his  station:  the  racks,  slatted 
steel  platforms,  with  shin-high  pipe  guards 
in  front,  were  lowered  into  position  outside 
the  rail;  fishing  poles  grabbed  and  tested, 
then  over  the  side  into  the  racks.  The  men 
played  the  squid  back  and  forth.  The 
squid,  jerked  through  the  water,  appears 
to  the  tuna  to  be  a  sardine  or  anchovy. 

The  squid,  so  called  because  of  the  squid- 
skin  covering,  is  a  strange  assortment  of 
articles;  a  lead  loaded  brass  tube,  to  which 
is  attached  a  plain  steel  hook,  bent  at  a 
forty-five  degree  angle.  The  whole  thing 
is  covered  with  white  chicken  feathers  and 
over  this  is  wrapped  the  squid-skin,  sheep 
parchment  or  cat  skin.  The  fishermen 
highly  prize  the  cat-skin,  which  is  imported 
from  Japan,  where  they  have  stock  farms 
that  raise  nothing  but  cats  for  the  skin  and 
gut.    Imagine  a  cat  ranch — silly,  isn't  it? 

Well,  the  chummer,  the  man  at  the  bait 
tank,  throws  handfuls  of  sardines  over  the 
side  to  entice  the  tuna  closer  to  the  waiting 
men  in  the  racks.  The  men  stand  tense, 
dipping  the  poles  up  and  down  in  the 
water;  suddenly,  one  man  has  a  strike,  then 
another  and  another,  till  all  the  men  have 
strikes  and  the  air  is  full  of  flying  fish, 
the  deck  starting  to  fill  with  a  great  flap- 
ping and  shower  of  spray;  the  men  shout- 
ing encouragement  to  each  other  and  to 
themselves,  like  a  bunch  of  baseball  play- 
ers. After  awhile  the  fishing  seems  to  slack 
off,  and  the  Captain,  who  is  the  chummer, 
orders  the  men  to  get  the  hook  poles.  On 
these  hooks,  plain  steel,  with  no  barbs,  at- 
tached to  the  poles  the  same  as  the  squid 
with  an  eight-foot  piano  wire  leader  and  a 
swivel,  the  men  hook  the  chum,  or  bait. 
After  days  of  swimming  around  in  circles 
close  to  the  surface  of  tanks,  the  sardines 
even  though  hooked  on  the  end  of  the  line, 
still  swim  in  the  circle,  though  close  to  the 
surface.  The  men  again  wait  for  the  strike. 
Some  Icthyologist  I  Fish  student,  to  you) 
figured  that  the  tuna  strikes  at  a  speed  of 
fifty-five  miles  an  hour.  The  fishermen  are 
so  practised,  that  thev  utilize  this  speed  to 
land  it.  flipping  the  pole  while  the  fish  is 
in  mid-air,  overhead,  releasing  the  fish  to 
continue  its  trip  to  the  deck  alone.  I  tried 
this  one  time.  Result:  a  wet  director  and 
a  pole  disappearing  astern,  zig-zagging  like 
a  snake. 

The  men  work  so  fast  that  by  the  time 
the  fish  is  on  the  deck,  they  have  the  hook 
baited  and  are  swinging  the  pole  overside. 
There  is  a  constant  shout  of  "Bait  .  .  . 
Bait  .  .  ."  from  the  men  in  the  racks. 

The  chummer  hands  small  nets  full  of 
sardines  down  to  each  of  the  men  who 
dump  them  into  little  receptacles  built  into 
the  rail  and  fed  with  a  trickle  of  water 
pumped    in    through    pipes    from    the   salt 


water  pump.  The  nets  are  thrown  back  on 
the  bank  top  and  the  men  bait  the  hooks 
and  fish  again. 

The  first  eight  days  on  the  banks  were 
'  overcast,  but  hot  or  cold,  we  shot  the 
;  scenes,  hoping  that  when  and  if  it  cleared 
up  we  could  reshoot.  The  men  said  that 
when  it  did  clear,  it  would  be  windy  and 
that  meant  rough  seas.  It  cleared  up  the 
:  day  of  the  full  moon  which  brought  more 
wind.  Huge  combers  came  over  the  bow 
and  rails,  but  that  didn't  keep  the  men  from 
fishing.  They  caught  seventeen  tons,  work- 
ing sometimes  shoulder  high  in  the  swells. 
That  day,  we  had  to  shoot  from  the  bridge 
deck,  camera  lashed  and  tied  down,  and 
used  the  hand  camera,  wrapping  myself 
around  a  stanchion  to  keep  from  going 
overboard. 

The  fish  kept  coming  aboard,  huge  one- 
and  two-polers,  some  of  them  weighing  as 
much  as  a  hundred  and  fifty  pounds.  No 
wonder  these  men  looked  like  the  "after" 
part  of  a  physical  culture  ad.  Ten-twelve- 
fourteen  hours  at  a  stretch,  constantly  pull- 
ing in  huge  tuna,  almost  as  big  as  they  are, 
poles  bent  almost  double,  every  muscle 
straining,  a  foot  braced  against  the  rack 
then  the  water  broken  by  a  whopper,  not 
high  in  the  air  th;s  time,  but  pulled  in  over 
his  chest,  lying  almost  on  his  back.  Even 
then,  he  gives  the  hook  a  flick  and  it  slith- 
ers in  among  the  rest  of  the  fish  on  deck, 
free.  To  vary  the  monotony,  they  some- 
times swing  in  the  smaller  fish  (thirty 
pounders),  grasp  them  against  their  ribs, 
release  the  hook,  and  throw  it  in  board  by 
the  gills. 

We  had  been  going  hard  at  it  all  day.  I 
noticed  an  increasing  list.  The  racks  are 
on  the  port  side  and  the  stern,  so  fish  pile 
up  on  one  side.  A  big  swell  came  by  and 
almost  washed  a  couple  of  men  overboard. 
They  saved  themselves  by  dropping  their 
poles  and  grabbing  the  rail.  They  shouted 
to  the  old  man  to  release  the  water  in  the 
forward  bait  tank  to  compensate  for  the 
added  weight  of  the  fish.  In  the  excitement 
he  had  forgotten  to.  He  yelled  at  me: 
"Mike,   you   open   the   valve!"   "Where   is 

it?"  said   I.    "Down   in  the  corner! " 

The  corner  was  five  feet  deep  in  fish. 

Carl  and  I  threw  fish  to  the  starboard 
side  till  I  thought  they  had  grown  legs 
and  walked  back  to  haunt  us.  There  the 
valve  was — nine  inches  from  the  deck.  I 
gave  it  a  twirl,  and  as  the  twenty  tons  of 
water  left  the  tank,  the  boat  rose.  Have 
I  mentioned  that  on  these  boats,  everyone 
works?  At  intervals,  I'd  see  Pete,  the  engi- 
neer, leave  the  racks  and  go  below  to  squirt 
some  oil  on  the  engine  or  ice  machine,  then 
Carlo,  the  cook,  would  lay  off  fishing  long 
enough  to  go  into  the  galley  and  throw 
something  together.  Then,  munching  a 
Dagwood  sandwich,  climb  back  into  the 
racks. 

Carlo  was  an  individualist.  You  liked 
what  he  cooked,  or  else.  Fortunately,  he 
was  an  excellent  one,  and  took  a  great  deal 
of  pride  in  it.  He  had  just  returned  from 
his   honeymoon    and    there   was   a    lot    of 


horseplay.  He'd  drop  a  skillet  or  half-pared 
potato  to  chase  someone  around  the  deck. 
One  day,  sitting  on  the  hatch  in  deep 
thought  playing  mumble-peg  with  a  huge 
bread  knife,  one  of  the  other  boys  came  by 
and  cautioned  him  that  the  knife  might 
slip  and  go  overboard.  Carlo  looked  at  the 
fellow,  looked  at  the  knife,  then  heaved  it 
over-side  into  the  ocean. 

When  he  ran  out  of  bait,  we  would  head 
for  Magdalena  Bay,  eleven  hours  sailing. 
While  on  the  way  in,  the  fish  had  to  be 
iced,  this  after  a  twelve-hour  day  in  the 
racks  fishing.  The  men  would  change  into 
dry  clothes,  then  go  below  to  chop  the  ice, 
and  begin  stacking  the  day's  catch.  Every 
fish  had  to  be  placed  belly  down,  head  to 
tail,  then  when  a  layer  was  completed,  cov- 
ered with  six  inches  of  crushed  ice.  Four 
or  five  hours  of  this  and  the  boys  would 
come  out  all  blue  around  the  edges. 

At  whatever  hour  the  boat  arrived  in  the 
bay,  the  search  for  bait  would  begin,  all 
lights  doused,  cruising  at  half  speed,  back 
and  forth.  Suddenly,  a  huge  phosphores- 
cence would  bloom  on  the  surface,  sardines 
chasing  anchovies,  mackerel  chasing  sar- 
dines and  sharks  chasing  the  mackerel — a 
vicious  circle — us,  chasing  the  whole  works. 

The  net  would  go  out  over  the  stern,  the 
circling  back  to  the  dory,  then  the  haul  in, 
all  done  in  the  dark.  Luminous  blobs  fall- 
ing from  the  net  and  the  hands  of  the  men. 
Then,  the  sack  in,  the  flood  lights  turned 
on  and  one  could  see  the  catch,  churning, 
and  not  just  bait,  but  skates,  small  poison- 
ous water  snakes,  sharks,  and  small  squid, 
the  last  a  delicacy  which  the  men  enjoyed 
— bv  immediately  flicking  the  heads  off  and 
swallowing  them.  The  surplus  after  the 
net  is  cleaned,  is  thrown  into  a  bucket  and 
later  French-fried.  I  at  last  found  some- 
thing I  couldn't  eat.  I  looked  down  at 
those  squid  on  the  galley  table  and  they 
looked  back  at  me. 

Bait  tanks  full  again,  we  started  out  past 
Man-O-War  Cove,  past  Sail  Rock  and 
headed  southeast.  The  men  climbed  into 
their  bunks.   Another  twenty-two  hour  day. 

For  three  days,  we  were  lost,  knowing 
only  that  we  were  off  the  Mexican  coast. 
The  fathometer,  as  we  cruised  back  and 
forth,  showed  bottom  only  at  1800  to  2000 
fathoms.  The  banks  have  a  depth  of  from 
65  to  150  fathoms  and  are  the  peaks  of  un- 
dersea mountains.  The  morning  of  the 
third  day,  up  as  usual  at  five,  trying  to 
figure  out  some  closeups  or  inserts.  I  got 
bored  and  went  into  the  pilot  house  to  talk 
to  the  man  at  the  wheel.  Sitting  on  the 
piled  gear,  I  took  a  photometer  out  of  my 
pocket  to  make  myself  more  comfortable, 
and  put  it  next  to  the  compass  and  waited 
hopefully  for  the  boat  to  find  the  bank. 
Back  and  forth,  up  and  down,  for  hours 
on  the  lookout  for  signs  of  tuna,  or  at 
least,  signs  of  the  rest  of  the  fleet.  The 
monotony  unbroken;  looks  in  everyone's 
eyes  that  you  see  on  a  set  when  poor  actors 
are  delivering  poor  lines.  The  old  man 
would  go  to  the  chart  rack,  pull  out  a  chart, 
measure  it  with   the   parallel   ruler  and   a 


piece  of  scratched  piano  wire.  All  sailing 
was  by  dead  reckoning.  The  Captain  would 
put  away  the  chart,  look  out  the  window, 
go  up  on  the  bridge,  mutter  to  himself, 
talk  to  the  helmsman  and  wave  his  arms 
and  point  overside.   All  in  Italian. 

This  went  on  all  morning,  and  part  of 
the  afternoon. 

Around  three,  the  Captain  called  to  me. 
I  went  over  to  the  pilot  house  door.  The 
old  man  pointed  at  the  compass,  then 
picked  up  my  photometer.  The  compass 
card  promptly  swung  over  forty-five  de- 
grees. The  meter  had  acted  like  a  magnet. 

The  Captain  had  been  going  nuts.  The 
Northwest  wind  had  been  coming  from  the 
west.  The  sun  was  setting  in  the  southwest 
instead  of  the  west.  On  a  hunch,  the  fath- 
ometer was  started.  As  it  warmed  up  with 
the  needle  circling  the  face,  it  started  to 
repeat  the  buzz  of  the  returning  echo:  "90 
— 90 — 90".  We  were  directly  over  the 
bank. 

By  steering  a  wrong  course,  we  had  lo- 
cated it  after  three  days  trying.  An  hour 
later,  we  saw  tuna  and  fished  until  dark. 
Not  taking  chance  on  losing  the  bank  again, 
we  anchored  all  night.  The  next  day,  the 
sea  was  covered  with  schools  of  fish.  We 
had  just  completed  a  background  shot  and 
had  reloaded  and  were  about  to  cover  the 
camera,  when  one  of  the  men  hooked  a 
swordfish.  What  a  fight!  No  letting  it  run 
as  we  would  with  a  reel.  .  .  .  The  length 
of  leader  was  the  limit  of  play.  It  was  either 
hold  on  or  let  the  pole  go.  The  huge  fish 
would  leap  out  of  the  water,  then  dive,  al- 
most pulling  the  fisherman  overboard.  The 
other  men  in  the  racks  stopped  fishing  to 
help.  One  would  help  hold  onto  the  pole — 
another  would  grab  a  belt  as  the  was  about 
to  be  pulled  over. 

Finally  the  monster,  seeing  it  wasn't  go- 
ing to  get  away,  charged  at  the  racks.  The 
men  leaped  back  over  the  rail,  the  sword- 
fisher  having  presence  of  mind  to  hold  onto 
the  pole.  A  fellow  ran  forward,  got  a  shot- 
gun and  returning,  took  a  bead  on  the  fish. 
The  fish,  half  into  the  racks,  was  lashing 
side  to  side  with  its  sword.  When  it  stopped 
for  a  second,  the  fellow  shot  it  behind  the 
eye.  It  shivered  all  over,  then  was  hauled 
aboard. 

All  this  time,  the  camera  was  grinding 
away  and  we  got  what  is  probably  the  only 
clo^eup  shots  of  a  swordfish  attacking  men 
in  the  fishing  racks. 

Not  to  be  satisfied,  about  ten  minutes 
later  another  swordfish  was  hooked.  That 
one  fought  for  almost  a  minute  and  a  half, 
but  this  time,  the  man  with  the  gun,  trying 
to  shoot  it,  neatly  severad  the  leader  with 
the  charge.  And  away  it  went.  These  shots, 
and  all  the  others,  appear  in  the  current 
Wallace  Beery  picture,  "Barnacle  Bill." 

That  evening,  after  icing  the  fish,  we 
started  homeward  with  a  capacity  load. 

Four  days  into  the  wind  and  heavy  seas. 
Past  Cape  San  Lazaro,  on  past  Point  San 
Eugenio  and  Cedros  Islands,  across  Se- 
bastian, Viscaino  Bay.  And  finally,  at 
dawn,  into  the  harbor  of  San  Diego. 


International  Photographer  for  October,  1941 


Virginia  Lake,  California 
6 


Bv  St.  Hilaire 


"Reap  the  Wild  Wind,"  Ceeil  B.  De  Mille  Technicolor  Production 


At  the  left  is  "wider-water  propertyman" 
Pat  Delaney,  getting  set  for  business  under 
two  fathoms  of  water;  (center)  spotted  at 
the  bottom  of  this  steel  cylinder  which  is 


sunk  into  the  water  is  the  "dry"  camera 
manned  by  Dewey  Wrigley  and  his  crew. 
The  camera  shoots  through  a  glass  plate 
at  the  bottom  of  the  cylinder.  At  right  the 
under-water  Technicolor  camera  and  Cine- 


matographer  Curly  Linden  prepare  to  des- 
cend to  the  bottom  of  a  twenty-foot  tank 
holding  nearly  1,000,000  gallons  of  water. 
Lower:  An  actual  scene  from  "Reap  the 
Wild  Wind." 


m                  -  -      ' 

# 

; 

m%Z%?T 

&**mm*  M 

International  Photographer  for  October,  1941 


Stills  by  G.  E.  Richardson 

7 


ThEy  must  be  shARp 


By  James  N.  Doolittle 


While  I  am  not  willing  to  admit  that 
every  time  I  open  my  mouth  somebody 
puts  his  foot  in  it,  I  will  allow  that  I  have 
overlooked  many  splendid  opportunities 
of  keeping  quiet. 

So  it  happened  that,  offering  a  few  in- 
nocent words  in  review  of  a  recent  pho- 
tographic salon,  I  made  certain  cracks 
about  "Sharp  Photography."  Little  escap- 
ing the  searching  eyes  of  our  editors,  I 
now  find  myself  asked  to  defend  the  point 
and  go  into  a  little  further  detail. 

Lest  the  circumstances  put  me  in  a  po- 
sition of  making  loosely-guarded  state- 
ments, I  might  as  well  go  all  the  way,  even 
at  the  risk  of  sponsoring  a  revolutionary 
movement,  and  alibi  myself  as  best  I  may. 

A  sieve-like  memory  retains  but  a  frag- 
mentary recollection  of  the  passages  re- 
ferred to  but  the  substance  was,  "A  picture 
is  not  necessarily  good  because  it  is  sharp." 

I  might  have  been  more  expansive  and 
claimed,  "A  picture  is  no  good  unless  it  is 
sharp."  Having  neglected  the  chance  of  a 
lifetime,  I  hereby  depose  and  so  state! 

We  needn't  go  too  far  back  in  the  his- 
tory of  photography  to  recall  the  days 
when,  after  years  of  struggle,  science  was 
able  to  produce  objectives  capable  of  ren- 


Compare  the  two 
portraits.  The  up- 
per was  produced 
in  London  Salon 
of  Pictorial  Pho- 
tography in  1915, 
while  the  lower  is 
a  recent  portrait 
of  Dorothy  Coin- 
ingore. 


dering  fairly  critical  detail.  Hand  in  hand, 
came  sensitized  materials  equal  to  the  re- 
cording of  acceptably  accurate  tones  and 
gradations. 

Then  something  slipped  and  photogra- 
phy became  "art"  even  to  some  of  the  sob- 
erest minds.  Now,  when  such  a  mind  tags 
the  craft  with  the  name  of  "art,"  anything 
can  happen  and  it  did  in  every  conceivable 
form  with  a  few  incomprehensible  ramifica- 
tions. 

Of  course  the  transition  didn't  happen 
over  night.  It  was  sort  of  eased  over  on  us. 
We  used  to  hear  of  certain  personal-op- 
tical deficiencies  which  ignored  unimport- 
ant details  in  a  scene.  Nature  was  all 
messed  up  with  things  that  had  no  right 
to  be  there  and  it  cramped  the  style  of  him 
who  yearned  for  simplicity. 

Thus  the  soft-focus  lens  was  evolved. 
Obliteration  of  detail  was  utter  and  com- 
plete. No  longer  was  the  all-seeing  eye 
assaulted  with  things  which  the  mind  alone 
could  ignore. 

Anyway  we  got  art!  Then,  to  make  the 
photographic  image  thoroughly  obscure, 
we  developed  startlingly  efficient  processes 
in  which  only  the  phenomenon  of  light 
action  reminded  us  that  the  camera  played 
any  part  at  all  in  the  whole  works. 

Two  welcome  influences,  however,  have 
brought  us  out  of  the  fog — the  acceptance 
of  photography  in  advertising  and  the  min- 
iature camera.  An  advertising  agency,  when 
paying  rather  important  money  for  art 
(and  here's  where  I'm  willing  to  reconcile 
the  use  of  the  term )  has  claimed  the  right 
to  know  what  it's  buying.  Space  rates  in 
important  periodicals  deny  any  profit  in 
publishing  guessing  games. 

Then  the  minicam. 

Lay  out  several  hundred  smackers,  plus 
tax,  for  a  bit  of  photographic  jewelry 
that'll  make  a  picture  only  the  size  of  an 
air-mail  stamp  and  your  curiosity,  plus 
your  instincts  of  economy,  will  demand 
something  that  resembles  a  photograph  in 
the  raw.  Take  the  word  "raw"  anv  way 
you  please  but  don't  miss  the  main  impli- 
cation. 

"A  picture  is  not  necessarily  good  be- 
cause it  is  sharp."  This  observation  is 
based  solely  upon  the  current  acceptance 
of  pictures  of  "just  things."  I  register  no 
thrill  over  shots  of  arid  wastelands — espe- 
cially if  they  purport  to  interpret  the  Cali- 
fornia scene — nor  do  my  tastes  in  architec- 
ture run  to  non-functional  shelters  for  al 
fresco  "plumbing."  Left,  however,  is  my 
insistence  that  if  such  material  must  be 
photographed,  f:12o  and  slick,  shiny  paper 
is  the  way  to  interpret  whatever  "asthetic" 
impulses  may  have  motivated  the  exposure. 

In  portraiture,  while  somewhat  of  a  tru- 
ant from  the  school  of  the  purist,  and  not 
insisting  that  character  oozes  from  my 
every  pore,  I  like  that  hard  pinpoint  of 
light  in  the  eyes.  With  no  desire  to  prove 
that  the  hairs  of  the  head  are  numbered, 
I'd  like  to  be  able  to  count  them  if  I  had 
the  urge.  I  can  delete  a  mole  with  perfect 
impunity  but  I'd  not  touch  an  old  wrinkle 


provided  it  were  the  insignia  of  mirth  and  the  arc  of  oscillat'on  is  not  too  great,  it 

laughter.  will  be  perfectly  all  right  with  me. 

Naturally  the   pendulum   of   progress   is  To  paraphrase  what  used  to  be  said  of 

a  jittery  indicator  which  will  never  assume  the   French,   "I   need  not  subscribe  to   all 

the  position  of  perpendicular  status.  Tastes  they   do   but   I   certainly   endorse  the   way 

and  vogues  change  as  they  should,  but  if  they  do   it." 


This   won    the  Silver  Medal  at   the  San   Francisco  Exhibit   of   Pictorial 
Photography  in  1915. 


Hudson   Bomber,  photographed  at  Lockheed  Plant.    Courtesy  Colliers 
Magazine. 


International  Photographer  for  October,  1941 


Francis  Neil,  RKO  Starlet 


By  Ernest  Bachrach 


10 


"Paris  Calling,"  Universal  Pictures 


By  N.  J.  Hopcraft 


Ben    Clazer    Production    starring    Elizabeth    Bergner    and       from  the  bombs  and  fires  in  the  background  it  was  a  little 
Randy  Scott.  These  are  all  night  shots  and  with  the  smoke       difficult  to  stop  the  action.  Photographed  with  4  by  5  Craflex. 


International  Photographer  for  October,  1941 


11 


'Call  Out  the  Marines' 


RKO  Radio  Production 


Lower  lefl  by  Al«-x  kahl<-;  the  others  by  Ernest  Bachraeh. 
On  opposite  page  lop  picture  is  by  Harhrach  and  ihc  other 

two  by    K.ihli  . 


12 


They' re  bAck 

Victor  McLaglen  and  Edmund  Lowe,  the 
famous  movie  marines  of  the  "Leather- 
neck" characterizations,  mustered  out  fif- 
teen years  ago,  have  enlisted  again  in  RKO 
Radio's  new  film  "Call  Out  the  Marines" 
now  before  the  cameras. 

They  are  cast  as  Curtis  and  McGinnis, 
Marine  Corps  sergeants  who  retired  to  civil 
life  but  now,  meeting  accidentally,  decide 
to  re-enlist.  So  ship-over  they  do,  as  it's 
called  by  the  Marines,  and  at  once  step 
back  into  their  famous  characterizations  of 
pals  who  stick  together  against  the  other 
fellows  but  cut  one  another's  throats  where 
women  are  concerned. 

These  are  the  characterizations  which 
won  them  screen  immortality  in  days  after 
the  first  World  War,  first  in  "What  Price 
Glory?"  and  then  successively  in  "The 
Cockeyed  World,"  "Women  of  All  Na- 
tions' and  "Hot  Peppers."  Then  the  world 
moved  on  to  other  interests  than  war  rem- 
iniscences, so  they  hung  up  their  uniforms, 
dissolved  their  team,  went  separate  ways. 

But  this  is  a  new  war.  So  they  are  back 
again,  with  RKO  Radio  and  Producer  How- 
ard Benedict  scoring  the  scoop.  How  big 
a  scoop  it  is  can  be  told  by  the  way  news- 
hawks on  the  Hollywood  front  beat  a  path 
to  the  sound  stage  door.  To  both  McLag- 
len  and  Lowe,  re-enlistment  in  the  movie 
marines  is  a  great  event.  Both  have  been 
doing  all  right  for  themselves  in  the  mov- 
ies since  they  put  away  their  uniforms. 
Lowe  has  been  playing  leads,  McLaglen 
won  the  Academy  Award  for  his  role  in 
"The  Informer."  But  there  always  has 
been  a  soft  spot  in  each  man's  heart  for  the 
characterizations  which  crashed  fame. 

No  wonder.  Up  to  that  day,  McLaglen 
had  been  just  another  movie  actor,  and 
Lowe  had  been  playing  "pretty  boy"  parts. 
Thereafter,  though,  McLaglen  went  on  to 
win  his  Oscar,  and  Lowe  to  be  retyped  in 
virile,  he-man  roles. 

"Let's  give  it  everything,  Vic,"  said  dap- 
per Eddie  Lowe  months  ago  when  he  and 
the  giant  McLaglen  signed  their  RKO 
Radio  contract,  and  the  man  mountain 
heartily  agreed. 

Not  only  agreed,  but  went  into  training. 
He  took  off  twenty-five  pounds  in  the  next 
three  months.  When  the  camera  rolled  on 
that  opening  shot,  six-foot-three  McLaglen 
was  down  to  a  shade  under  200  pounds,  a 
bull-chested  giant  the  Marines  would  be 
proud  to  enroll. 

He  has  nothing,  though,  in  that  respect, 
on  the  suave  and  handsome  Eddie  Lowe, 
who  keeps  in  condition  with  outdoor  activ- 
ities. 

When  the  pair  of  them  lined  up  in  uni- 
form just  before  the  start  of  production  to 
be  given  the  o.  o.  by  Capt.  Thomas  M. 
Ryan,  U.  S.  M.  C,  on  detached  duty  to  act 
as  technical  adviser,  he  grinned  admiringly, 
and  said: 

(Continued  on  page  19) 


International  Photographer  for  October,  1941 


13 


kHow  Green  Was  my  Valley' 


20th  Century  Fox  Production 


Caul:  Waller  Pidgeon,  Maureen  O'Hara,  Anna  Lee, 
Donald,  Crisp,  Roddy  McDowall,  Sara  Allgood,  Barry 
Fitzgerald,  Palric  Knowles,  Evan  S.  Evans,  James  Monks, 
Arthur  Shields,  John  Loder,  Rhys  Williams,  Richard 
Eraser.    Directed  by  John  Ford. 


Haw  Morgan,  now  sixty  years  old,  tells  the  story.  The 
men  of  the  little  Welsh  town  worked  in  the  coal  mines 
where  they  were  well  paid  and  happy.  Through  the  in- 
flux of  cheap  labor,  troubles  ensue  and  finally  the  vil- 


14 


By  Gene  Kornmann 


V    fj 

b""l 

. 

H  j0*     >4|JJ 

SP 

»    VJ 

■^*r^ 

1      ~ 

9  Hs.     ^P*"  ^E 

«*W 

1      V 

.  V 

XjH% 

jpr  ^     » 

.           - 

-^    -tit*^^ 

<k 

i 

.4 

^Bi 
i 

..- 

i  - 

ii 

tRI 

<-^H^ 

UP  .■ 

Av 

F 

e 

lagers  are  plunged  into  gloom  and  want.    The  important  There  is  a  great  cave-in  and  Mr.  Morgan  (Donald  Crisp) 

role  of  the  new  minister,  Mr.  Gruffydd  is  played  by  Wal-  dies. 

ter  Pidgeon.    Through  his  efforts  the  strike  is  settled,  but  Huw  finishes  his  story  of  the  death  and  departure  of 

wages  are  lowered  and  all  of  the  men  are  not  taken  back.  his  loved  ones  from  the  valley  that  once  was  so  green. 


International  Photographer  for  October,  1941 


15 


"how  QREEN  WAS  My  VAlUy" 


Putting  Wales  on  the  map  of  California 
for  one  of  the  biggest  movie  sets  in  many 
a  year  rivals  anything  that  Aladdin  could 
have  done  by  rubbing  his  famous  lamp. 

The  amount  of  materials  and  money 
which  20th  Century-Fox  put  into  building 
the  entire  village  and  coal  mine  for  Darryl 
F.  Zanuck's  production  of  "How  Green 
Was  My  Valley"  may  sound  somewhat 
staggering,  but  a  view  of  the  finished  prod- 
uct pales  figures  into  insignificance. 

When  Zanuck  first  commissioned  Art 
Director  Richard  Day  to  bring  into  being 
the  mining  village  of  the  Morgan  family 
in  the  Richard  Llewellyn  best  seller,  he 
first  spent  many  days  looking  at  movie  film 
and  thousands  of  photographs  of  typical 
Welsh  villages. 

Then  he  selected  those  of  the  villages  of 
Cerrig  Ceinnen  and  the  adjoining  Clyd- 
dach-cum-Tave  in  the  Rhodda  Valley  in 
Wales  and  started  to  draw  sketches  and 
plans  of  a  composite  of  these  two.  Then, 
in  collaboration  with  Ben  Wurtzel,  head  of 
the  studio  construction  department,  actual 
work  began. 

First  of  all,  five  caterpillar  tractors  and 
five  carryalls  put  in  four  weeks  of  excava- 
tion work  on  the  site  selected  at  Brents 
Crags  in  San  Fernando  Valley,  35  miles 
from  the  studio.  This  spot,  with  its  rolling 
hills  and  stretches  of  valley  duplicated  in 
topography,  if  not  in  climate,  the  Rhodda 
Valley  of  Wales. 

The  set  was  to  be  spread  out  over  an 
area  of  85  acres,  including  six  hills  of  vary- 
ing sizes.  But  in  order  to  shape  this  natural 
scenery  to  picture  requirements,  hundreds 
of  thousands  of  tons  of  earth  had  to  be 
excavated. 

After  the  preparatory  four  weeks  of  ex- 
cavation was  finished,  the  actual  building 
of  the  set  took  six  weeks,  in  other  words, 
36  days  of  10  hours  per  day  with  150 
workmen  on  the  job. 

A  continuous  line  of  trucks  hauled  to  the 
location  the  various  materials  which  went 
into  getting  everything  ready,  including: 
300,000  feet  of  lumber,  20,000  gallons  of 


paint,  300  tons  of  plaster,  2,000  tons  of 
coal,  10  railroad  freight  cars  of  stone, 
5,000  panes  of  glass,  2,000  feet  of  mine 
track,  50  coal  trams.  There  was  a  full  rail- 
road car  shipment  of  roofing  slate  as  well 
as  tons  of  nails,  plants  and  trees  of  every 
description. 

One  of  the  first  things  that  had  to  be 
constructed  on  top  of  one  of  the  highest 
hills  was  a  reservoir  that  would  hold  200,- 
000  gallons  of  water  for  various  uses. 

Besides  the  need  of  water  in  construction 
work,  the  streets  of  the  village  had  to  be 
wetted  down  during  hot  and  dusty  weather 
and  there  had  to  be  a  large  source  of  sup- 
ply for  use  in  rain  scenes.  Being  far  from 
any  town,  the  studio  had  to  figure  out  its 
own  water  problem. 

Construction  of  the  set  was  commenced 
last  fall  when  it  was  expected  at  that  time 
that  production  would  start  in  November. 
When  the  picture  was  put  off  until  this 
summer,  the  studio  spent  $15,000  to  put  in 
a  complete  drainage  system  to  take  care 
of  the  heavy  winter  rains. 

Some  80  buildings  altogether  comprised 
this  Welsh  mining  town.  These  included 
the  homes  of  the  miners,  the  colliery  build- 
ings, stores,  tavern,  church  and  other  com- 
munal  buildings. 

To  beautify  and  dress  up  the  little  gar- 
dens of  the  homes  and  other  spots  in  the 
village,  $10,000  worth  of  trees,  plants, 
flowers  and  shrubs  were  carted  out  and 
transplanted  on  the  location. 

The  oddest  job  of  all  was  the  way  the 
problem  was  solved  of  making  the  moun- 
tainous slag  heap  which  threatens  the  vil- 
lage and  plays  an  important  part  in  the 
story.  It  was  this  job  which  accounts  for 
the  enormous  item  of  20,000  gallons  of 
paint. 

An  immense  hill  had  to  be  denuded  of 
vegetation  and  the  entire  area  of  the  hill 
sprayed  with  black  paint  to  make  it  look 
like  that  much  slag.  Over  this  painted 
earth  and  rocks,  several  tons  of  coal  was 
scattered  to  add  to  its  realistic  appearance. 

The  coal  mine  itself  required  the  most 
careful  work  of  all.  Not  only  was  it  to 
look  accurate,  but  everything  about  it  was 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


to  be  workable  and  practical.  Down  the 
30-foot  shaft  which  had  been  dug,  there 
had  to  be  a  lift  to  lower  and  raise  the  min- 
ers, built  according  to  all  mine  safety  speci- 
fications because  it  actually  had  to  raise 
and  lower  people. 

The  2,000  feet  of  track  emerged  from 
tunnels,  and  on  this  track  ran  the  fifty  steel 
trams  which  the  studio's  own  metal  work- 
ing shop  had  constructed  out  of  iron  and 
steel,  copied  from  the  trams  used  in  Welsh 
mines. 

Everything  about  the  mine  worked.  In 
full  operation  it  gave  forth  an  industrious 
uproar.  The  trams  clattered  over  the  rails. 
Winches  and  hoists  groaned,  creaked  and 
rattled.  Steam  vents  hissed  and  sputtered, 
and  the  whole  mine  gave  forth  from  500 
to  1,000  tons  of  coal  a  day.  Then  there 
was  the  added  work  of  putting  the  coal 
back  into  the  mine  at  night  so  that  it  could 
be  taken  out  again  the  next  day  in  further 
scenes. 

Lording  over  all  this  Welsh  territory 
was  the  Irish-American  director,  John  Ford 
whose  business  it  was  to  combine  this  back- 
ground and  several  hundred  people  into  the 
finished  production  of  "How  Green  Was 
My  Valley." 

At  Ford's  insistence,  there  was  more  to 
the  backs  of  the  sets  than  the  usual  timbers 
which  prop  up  the  false  fronts.  Every 
building  had  a  one-room  interior.  Instead 
of  the  usual  canvas  dressing  rooms  which 
would  have  been  like  sweat  boxes  for  the 
actors,  the  cottages  themselves  were  used. 

Walter  Pidgeon  was  housed  for  the  dura- 
tion of  the  picture  in  the  house  which  he 
was  supposed  to  occupy  in  his  role  as  the 
Rev.  Gruffydd.  Maureen  O'Hara,  Anna  Lee, 
Roddy  McDowall.  John  Leder,  Sara  All- 
good  and  all  the  other  members  of  the  cast, 
as  well  as  the  extras,  were  quartered  in  the 
cottages  and  other  buildings  whose  one- 
room  interiors  were  furnished  as  restful 
dressing  rooms. 

Accomplishment  of  this  miracle  in  creat- 
ing an  entire  village  and  colliery  in  less 
than  two  months  time  cost  the  studio  about 
$145,000,  figured  on  the  basis  of  $120,000 
for  general  construction,  $15,000  for  the 
drainage  system,  and  $10,000  for  the  land- 
scaping. 

It  sounds  like  a  lot  of  money  for  one  set 
for  one  motion  picture,  but  one  look  at  the 
village  is  enough  to  convince  that  the 
studio  got  its  money's  worth. 

Added  to  this,  of  course,  will  be  the 
$25,000  the  studio  will  have  to  spend  to 
tear  all  of  this  handiwork  down,  cart  it 
all  away  and  make  things  look  as  though 
the  Rhodda  Valley  of  Wales  had  never 
come  to  the  San  Fernando  Valley  of  Cali- 
fornia. 

But  that  is  another  story  altogether,  in- 
volving another  type  of  movie  ingenuity. 


16 


P%^v£«!rc!&TC^Sb 


greater 


\Tre>s  a  finer  ^oWV' 

Th  •    the  pr'n*  on 

'chness  in  «"e  K 

"^  „ol.M«»"  "UE°  ,     .„_   paper   9N>«« 

.,„  is  o  TU«-s«,e'        „0<|atSon-"*  bl° 


P 


. 


X 


1 


International  Photographer  /or  October,  1941 


-     v 


17 


On  Location  in  Florida  with 


Top  left:  Registering  definition  test  on  MGM  production, 
"Yearling."  Left  to  right  are  grip  from  Florida ;  Rube 
Royce  behind  camera ;  very  capable  Bill  Crossen,  assistant 
cameraman,  Chicago  Local.  Top  right:  Preparing  to  make 
aquaplane  shot  for  Twentieth  Century-Fox  Production, 
"Moon  Over  Miami";  Nelson  Cordes  carrying  Technicolor 
camera,  and  Rube  Royce  in  the  boat.    Lower  left:   Another 


location  on  "Yearling" — an  island  in  St.  Johns  River  near 
the  famous  Astar  landing.  At  the  left  is  seated  Director 
Dick  Rossen,  next  is  Ray  Ramsey,  Rube  Boyce,  and  hiding 
behind  the  palm  is  Charlie  Royle.  Lower  right:  Fred 
Detmers  bringing  camera  ashore  from  set-up  in  Sweet 
Water  Creek  in  the  Ocala  National  Forest,  near  Ocala,  Flor- 
ida, on  MGM  "Yearling"  location. 


VJSllAl  EdlJCATioN  JN  \n6\\ 


A  scheme  of  visual  education,  unique  in 
India  in  its  scope,  was  inaugurated  recently 
by  the  Government  of  Bombay.  Under  it, 
motion  pictures  will  be  shown  regularly 
in  even  the  smallest  villages  in  the  Pro- 
vince, 100  16-mm.  projectors  having  re- 
cently been  purchased  for  the  purpose. 
These  projectors,  which  work  from  batter- 
ies, thus  dispensing  with  the  need  for  elec- 
tricity, will  be  taken  from  village  to  vil- 
lage on  a  circuit  system,  similar  to  that 
used  for  the  circulation  of  commercial 
films. 

The  scheme  was  formally  inaugurated 
by  His  Excellency  the  Governor  at  the  vil- 
lage of  Turumbha,  about  10  miles  from 
Thana,    on    January    21.     Simultaneously 

18 


projectors  were  put  into  operation  in  the 
Ahmedabad,  Ahmednagar,  East  Khandesh 
and  Belgaum  districts. 

From  these  five  starting  points,  the  cir- 
cuits will  gradually  extend  until  they  cover 
the  whole  Province,  reaching  thousands  of 
villagers  who  until  now  have  never  seen 
a  film. 

Films  will  deal  chiefly  with  rural  sub- 
jects, such  as  agriculture,  cattle,  sheep  and 
poultry  farming,  health,  sanitation,  and 
with  the  wariand  other  subjects  of  interest. 
A  complete  new  program  will  be  provided 
every  two  weeks,  so  that,  when  the  scheme 
is  in  full  operation,  villagers  will  be  very 
little  behind  the  townsmen  in  seeing  pic- 
tures of  the  latest  developments  in  world 
affairs. 


The  films  are  silent,  but  a  commentary 
in  the  best-known  local  language  will  be 
delivered  as  each  is  screened.  No  addi- 
tional staff  is  being  engaged  for  this  pur- 
pose or  for  the  operation  of  the  projec- 
tors; the  work  being  done  entirely  by  Gov- 
ernment officials  and  voluntary  helpers. 

In  the  inauguration  of  the  scheme,  the 
Government  is  working  in  close  collabora- 
tion with  the  Film  Advisory  Board  of  the 
Government  of  India.  Some  of  the  films 
controlled  by  the  Board  are  being  reduced 
from  the  standard  35-mm.  size  to  16-mm. 
size  in  a  private  laboratory  recently  estab- 
lished in  Bombay.  Other  films  are  being 
made  by  the  Government  in  consultation 
with  producers.  —  U.  S.  Department  of 
Commerce. 


MGM  and  Twentieth  Century-Fox 


On  location  "Moon  Over  Miami,"  Twentieth  Century-Fox 
production,  where  the  crew  had  the  good  fortune  to  work 
in  the  beautiful  Florida  Cypress  Gardens  at  Winter  Haven. 
Standing  are  Eddie  Snyder  and  Rube  Boyce,  and  seated, 
starting  left,  are  Dick  Pope,  owner  of  Cypress  Gardens, 
and  as  famous  for  his  hospitality  as  the  gardens  are  for 


beauty;  Paul  Burress,  Chicago  Local;  Otto  Brower,  direc- 
tor; and  Allen  Davey.  Lovely  young  ladies,  like  the  two 
shown  in  the  picture,  stroll  through  the  gardens  and  are 
glad  to  assist  visiting  camera  fans  as  to  locations,  poses, 
lighting  and  costume.  It  is  said  that  these  girls  in  their 
colorful  costumes  are  the  most  photographed  in  the  world, 
being  subjects  for  many  cameras  every  day. 


they're  dacU 

(Continued  from  page  13) 

"Magnificent  soldiers." 

Binnie  Barnes,  Corinnna  Mura,  Dorothy 
Lovett,  Marion  Martin,  other  beauties  who 
help  to  make  life  complicated  for  the 
throat-cutting;  pals  of  "Call  Out  the  Ma- 
rines," must  have  the  same  idea.  They're 
always  hanging  around  one  or  the  other  on 
the  sets. 

"In  fact,"  said  Binnie  Barnes,  "I  guess 
a  girl  just  naturally  loves  a  uniform  when 
it's  well  filled  out." 

"Sez  you,"  chorused  McLaglen  and 
Lowe,  listening  in. 

"Sez  we,"  chorused  the  ladies. 

Yes,  the  Movie  Marines  have  landed,  and 
they  have  the  situation  well  in  hand. 

International  Photographer  for  October,  1941 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

PHONES 


DAY- 


-NIGHT 


Hillside        6373  De  Longpre  Ave.     HEmpstead 
8333  Near  I var  Street  131 1 

HOLLYWOOD,  CALIFORNIA 


19 


S.  M.  p.  E.  CONVENTION 


Abstracts  of  Paper  for  the  Fiftieth  Semi- 
Annual  Convention,  Hotel  Pennsylvania, 
New   York,   N.   Y.,   October   20-23,    1941. 

The  Papers  Committee  submits  for  the  consid- 
eration of  the  membership  the  following  ab- 
stracts of  papers  to  be  presented  at  the  Fall  Con- 
vention. It  is  hoped  that  the  publication  of  these 
abstracts  will  encourage  attendance  at  the  meet- 
ing and  facilitate  discussion.  The  papers  pre- 
sented at  Conventions  constitute  the  bulk  of  the 
material  published  in  the  Journal.  The  abstracts 
may  therefore  be  used  as  convenient  reference 
until  the  papers  are  published. 

A.   C.   Downes,   Editorial  Vic-President. 

S.  Harris,  Chairman,  Papers  Committee. 

G.  A.  Chambers,  Chairman.  West  Coast  Papers 
Committee. 

F.  T.  Bowditch,  F.  L.  Eich,  R.  E.  Farnham, 
J.  L.  Forrest,  C.  R.  Keith,  E.  W.  Kellog,  P.  J. 
Larsen,  G.  E.  Matthews,  W.  H.  Offenhauser, 
R.  R.  Scovllle,  S.  P.  Solow,  W.  V.  Wolfe. 

Dynamic  Screen — a  Speculation;  Robert 
W.  Russell,  Training  Film  Production  Labora- 
tory, Ft.  Monmouth,  N.  J. 

Within  its  present  limits,  various  phases  of  the 
motion  picture  have  been  brought  close  to  tech- 
nical exhaustion  and  artistic  satisfaction.  Com- 
petition with  color  television  and  other  forms  of 
entertainment  require  that  motion  pictures  come 
forth  with  another  "sudden  impact  of  novelty" 
similar  to  its  other  great  discoveries:  screen  per- 
sonalities, story,  montage,  sound,  color.  One  great 
frontier  remains  ior  film-makers  and  engineers: 
the  selective  delimitation  of  the  screen.  The  fam- 
iliar rectangular  screen  shape  forces  the  motion 
picture  to  accomplish  everything  within  a  rigid 
opening  like  a  window.  Feeble  attempts  have 
been   made  to  vary  this  arbitrary   shape,  usually 


hy  trying  to  substitute  other  arbitrary  shapes: 
the  "Grandeur"  wide -film,  the  square  frame,  the 
circular  "iris-in."  camera  matte  shapes.  Unpro- 
gressive  justificaton  for  the  present  rectangle  is 
in  static  painters"  composition,  in  commercial 
standardization,  and  in  a  false  claim  of  relation- 
ship to  the  "Golden  Section"  rectangle.  It  is  pos- 
sible to  speculate  on  a  new  type  of  motion  pic- 
ture production  using  the  unlimited,  unframed 
"Dynamic  Screen,"  permitting  another  "sudden 
impact  of  novelty"  to  meet  the  increasing  com- 
petition of  similar  medium  of  entertainment. 
Great  new  frontiers  of  cinematic  effect  are  opened 
up  by  making  the  screen  area  the  entire  proscen- 
ium wall,  by  employing  a  projector  lens  that  will 
throw  the  35mm  frame  to  cover  this  whole  wall 
as  a  potential,  and  by  selectively  limiting  the  pro- 
jected image  to  smaller  pictures  within  this  po- 
tential, using  peculiarly  appropriate  or  eccentric 
delimitations  in  an  overall  montage  of  bound- 
aries. Such  a  production  can  be  imagined,  de- 
scribed, and  even  accomplished  with  present-day 
equipment. 

Mobile  Television  Equipment;  R.L.Camp- 
bell, R.  E.  Kessler,  R.  E.  Rutherford,  and 
K.  V.  Landsberc,  Allen  B.  DuMont  Laboratories, 
Passaic,  N.  J. 

While  portability  is  a  necessary  requirement 
for  outside  pick-up  equipment,  several  advantages 
result  when  portability  is  carried  into  the  studio. 
To  equip  a  studio  of  adequate  size  with  fixed 
equipment  for  operation  of  several  cameras  in- 
volves considerable  time  and  expenditure.  How- 
ever, with  portable  studio  equipment,  the  entire 
equipment  installation  can  be  located  to  suit 
studio  needs,  as  well  as  moved  to  different  studios 
or  outside  locations. 

The   dolly   type   of   equipment   is   described   in 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE   IN   EVERY  DETAIL 

Immediate  Delivery 


HOLLYWOOD   USERS   CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

©  SENSITESTER— For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


1515  Cahuenga  Blvd. 


Cable  address:  ARTREEVES 

Hollywood.  California.  U.  S.  A. 


some  detail,  and  systems  for  program  control  are 
discussed.  Some  of  the  design  features  discussed 
are  portability  and  flexible  synchronizing  equip- 
ment; electronic  view  finders;  oscilloscope  moni- 
tors;   and   other  operating  facilities. 

Production  and  Release  Applications  of 
Fine-grain  Films  for  Variable-Density  Sound 
Recovery;  C.  R.  Daily,  Paramount  Pictures,  Inc., 
Hollywood,  Calif. 

Fine-grain  film  materials  have  supplanted  the 
normal  positive  type  emulsions  for  all  variable- 
density  sound  recording  and  printing  operations. 
The  sound-quality  improvement  realized  by  the 
reduction  in  noise  and  distortion  is  now  available 
for  all  sound  operations,  including  release  prints. 
The  paper  describes  a  number  of  problems  en- 
countered and  solved  in  the  commercial  applica- 
tion of  such  films  for  sound  recording,  including 
factors  affecting  the  choice  of  negative  and  print 
materials,  noise,  distortion,  sensitometric  charac- 
teristics, recorder  lamp  supplies,  and  noise  prob- 
lems on  stage. 

Laboratory  Modification  and  Procedure  in 
Connection  with  Fine-Grain  Release  Print- 
ing; J.  R.  Wilkinson  and  F.  L.  Eich,  Paramount 
Picture,  Inc.,  Hollywood,  Calif. 

While  finegrain  emulsions  have  been  in  general 
use  for  specialty  purposes  for  three  years  or  more, 
their  use  as  a  medium  for  release  prints  is  com- 
paratively recent.  This  paper  discusses  the  neces- 
ary  modifications  required  in  a  release  print  lab- 
oratory to  produce  satisfactory  fine-grain  release 
prints.  The  discussion  covers  the  light  source, 
power  supply,  light-testing,  and  printing  equip- 
ment. Observations  noted  while  processing  the 
first  thirty  million  feet  of  release  prints  are  made 
relative  to  the  behavior  and  charactristics  of  the 
film. 

A  Note  on  the  Processing  of  Eastman 
1302  Fine-Grain  Release  Positive  in  Holly- 
wood; V.  C.  Shaner,  Eastman  Kodak  Co.,  Holly- 
wood, Calif. 

A  brief  historical  resume  is  given  of  a  series  of 
fine-grain  films  that  have  been  put  upon  the  mar- 
ket during  the  past  four  years.  This  series  of 
fine-grain  films  culminated  with  the  acceptance 
of  Eastman  1302  fine-grain  release  positive  at  one 
Hollywood  laboratory  to  the  exclusion  of  regular 
positive  of  the  1301  type  for  release  printing.  Ex- 
perimental data  are  presented  to  show  the  com- 
parative sensitometric  characteristics  of  fine-grain 
positive  1302  and  regular  positive  1301  at  various 
pH  values  and  potassium  bromide  concentrations 
typical  of  Hollywood  positive  developers.  A  basic 
positive  developer  formula  derived  from  chemical 
analyses  of  every  release  positive  developer  in 
Hollywood  was  used  in  the  experimental  work. 
Some  practical  facts  are  discussed,  based  upon  the 
experiences  obtained  from  the  initial  use  of  the 
fine-grain   film   in   Hollywood. 

A  Frequency-Modulated  Control  Track  for 
Movietone  Prints;  J.  G.  Frayne  and  F.  P. 
Herrnfeld;  Electric  Research  Products,  Inc., 
Hollywood,  Calif. 

A  5-mil  frequency-modulated  track  located  be- 
tween sound  and  picture  areas  is  proposed  to  con- 
trol reproduction  in  the  theater  from  one  or  more 
sound-tracks.  A  variation  of  approximately  one 
octave  in  the  control  frequency  provides  a  30- db 
change  in  volume  range  which  may  be  used  in 
part  for  volume  expansion  of  loud  sounds  or  as 
noise  reduction  for  weak  sounds.  The  control- 
track  frequency  is  varied  manually  and  recorded 
simultaneously  with  the  sound-track  in  the  dub- 
bing operation,  the  gain  of  the  monitoring  chan- 
nel being  varied  in  accordance  with  the  control 
frequency  to  produce  automatically  the  enhanced 
volume  range  desired  from  the  release  print.  The 
track  is  recorded  in  line  with  the  standard  sound- 
track and  does  not  require  separate  printing  or 
reproducing  apertures.    It  is  scanned  by  a  separate 


20 


A 


"J 'be  Capitol" — a  Grafiex  Picture  by  Allen  Braunstetn 


mericun-ma 


de    (^c 


amercid 


for   ^Ti 


.    f 

merica . 


Cameras  serving  our  armed  forces  must  make  all 
kinds  of  pictures  under  all  kinds  of  conditions. 
They  must  stand  up  under  severe  service  ashore, 
afloat  and  aloft.  They  must  be  carefully  and  hon- 
estly built — a  synonym  for  dependability. 

With   over   half   a   century   of   fine   camera-mak- 
ing  behind    us,    we    are   today    turning   our    facili- 


t'es,  our  talents  and  our  resources  more  and 
more  toward  the  supplying  of  dependable, 
rugged  and  versatile  cameras  to  those  engaged 
in   our   defense. 

We  are  proud  that  Grafiex  and  Speed  Graphic 
Cameras  are  meeting  America's  requirements  — 
are  doing  their  part. 


GRAFLEX 

AMERICAN-MADE 


FDLMER  GRAFLEX  CORPORATION,  ROCHESTER,  NEW  YORK,  U.S.A. 


CAMERAS 


International  Photographer  for  October,  1941 


21 


photosensitive  surface,  the  output  being  converted 
from  frequency  to  voltage  variatons  by  a  fre- 
quency-discriminating network  identical  to  that 
used  in  the  monitoring  channel.  The  output  from 
the  network,  applied  to  the  grid  of  a  variable- 
gain  amplifier  in  the  sound  channel,  controls  auto- 
matically the  volume  of  the  reproduced  sound  in 
accordance  with  that  observed  in  the  dubbing 
operation. 

The  Design  and  Use  of  Film  Noise  Reduc- 
tion Systems;  R.  R.  Scoville  and  W.  L.  Bell, 
Electrical  Research  Products,  Inc.,  Hollywood, 
Calif. 

Methods  of  increasing  the  signal-to-noise  ratio 
in  film  recording  that  have  been  extensively  de- 
veloped in  recent  years  include  the  following: 
use  of  double-width  push-pull  sound-tracks,  pre- 
and  post-equalization,  fine-grain  film,  noise-reduc- 
tion bias  systems,  squeeze-track,  volume  compres- 
sion and  expansion,  and  control-tracks.  The  prin- 
ciples underlying  the  use  of  such  systems  are 
treated,  and  the  manner  of  combining  them  to 
obtain  the  most  effective  noise-reduction  is  shown. 
The  design  of  noise-reduction  bias  systems  is  ex- 
plained in  considerable  detail  and  the  applica- 
tion to  a  new  unit  is  described.  Although  this 
information  has  largely  developed  from  the  vari- 
able-density method  of  recording,  much  of  it  is 
also  applicable  in  the  variable-area  system. 

Streamlining  a  Sound  Plant;  L.  L.  Ryder, 
Paramount  Pictures,  Inc.,  Hollywood,  Calif. 

This  paper  discusses  the  trend  in  modern 
sound-recording  equipments.  It  reviews  the  ob- 
jectives and  requirements  that  are  now  existing 
in  regard  to  studio  recording  as  contrasted  to 
previous  recording  systems.  Several  new  develop- 
ments in  the  art  of  sound  recording  are  discussed 
and  from  this  group  are  selected  a  complementary 
series  of  improvements  which  together  are  stream- 
lined into  a  new  recording  plant. 

A  Precision  Direct-Reading  Densitometer; 
M.  H.  Sweet,  Agfa  Ansco  Corp.,  Binghamton, 
N.  Y. 

The  history  of  physical  densitometers  is  briefly 
discussed.  In  spite  of  developments  in  modern 
electronic  circuits,  simple  photoelectric  instru- 
ments suitable  for  routine  sensitometry  are  not 
yet  in  common  use.  The  present  densitometer  is 
designed  to  fill  this  need. 

The  minimum  requirements  for  a  satisfactory 
instruments  are  outlined.  Photographic  density  as 
such,  and  destiny   standardizations  are   discussed. 

The  densitometer  density  of  the  present  instru- 
ment as  related  to  that  of  other  types  is  demon- 
strated. The  opitcal  aspects,  including  the  geom- 
etry and  spectral  qualities  of  the  system,  are  ex- 
plained, and  the  problem  of  calibration  discussed. 
Emphasis  is  placed  upon  the  practical  agreement 
of  different  optical  systems  suitably  calibrated, 
and  specific  examples  are  shown. 

The  circuit  arrangements  of  previous  photoelec- 
tric densitometers  are  outlined.  The  theory  and 
practical  development  of  the  present  electrical  cir- 
cuit are  described,  and  the  effects  of  the  novel  fea- 
tures are  shown.  An  accurate  linear  density  scale 
is  obtained  in  a  single-stage  d-c  amplifier,  and  the 
sensitivity  is  sufficient  to  permit  the  use  of  a 
rugged  output  meter.  A  density  range  of  0  to  3.0 
is  covered,  and  the  characteristics  of  the  output 
meter  are  given. 


CINEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing  Heads,   Developing   Machines,   Bipack 
Color  and  Black  and  White  Printers,  Re- 
winds. 
Special    Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:    "CINEBAKSAM" 


The  technics  used  in  prior  densitometers  in  at- 
tempting to  secure  a  linear  density  scale  and  ade- 
quate scale  length  for  good  legibility  are  dis- 
cussed, and  the  technic  used  in  the  present  instru- 
ment is  compared  with  them.  The  performance 
characterstics  of  the  electrical  circuit  make  it 
suitable  for  application  to  recording  instruments. 

The  routine  operation  is  described  and  the  per- 
manence of  calibration  is  shown.  Data  are  given 
on  the  warm-up  period  and  drift,  and  on  the  in- 
fluence of  varying  line  voltage.  Operation  is  en- 
tirely by  alternating  current.  Practical  perform- 
ance considerations  such  as  convenience  in  read- 
ing, eye  fatigue,  etc.,  are  reviewed,  and  figures 
showing  the  comparative  speed  of  operation  and 
reading  accuracy  are   given. 

A  Review  of  the  Question  of  16mm  Emul- 
sion Position;  Wm.  H.  Oetenhauser,  Jr.,  Pre- 
cision Film  Laboratories,  New  York,  N.  Y. 

When  a  16-mm  sound-film  is  properly  threaded 
in  a  16-mm  projector,  the  emulsion  of  the  film 
may  face  the  screen  (which  position  is  called  the 
"standard"'  position)  or  it  may  face  the  projector 
light-source  (the  "non-standard"  emulsion  posi- 
tion). The  well-designed  16-mm  "standard"  or 
"non-standard"  prints. 

In  the  case  of  35-mm  film,  the  standard  posi- 
tion for  the  emulsion  of  a  print  is  opposite  that 
for  16-mm;  in  35-mm,  the  emulsion  faces  the 
light-source  of  a  projector.  The  anomaly  of  the 
16-mm  emulsion  position  around  from  the  fact 
that  a  large  number  of  the  earliest  16-mm  com- 
mercial sound-films  were  made  by  optical  reduc- 
tion from  35-mm  negatives.  Since  the  "standard" 
was  established,  however,  numerous  developments 
have  occurred  in  direct  16-mm  production  which 
now  practically  compel  the  recognition  of  so-called 
"non-standard"  prints  as  a  factor  of  fast-growing 
importance  in  our  rapidly  growing  16-mm  indus- 
try. The  expression  "non-standard"  emulsion  po- 
sition no  longer  carries  the  stigma  ordinarily  as- 
sociated with  other  things  that  are  called  non- 
standard. 

Motion  picture  films  may  be  printed  either  by 
contact  ( the  emulsion  of  the  film  to  be  copied  is 
in  physcal  contact  with  the  raw  film  upon  which 
the  copy  is  to  be  made)  or  by  optical  printing 
(the  emulsion  of  the  two  films  are  not  in  physical 
contact;  some  form  of  lens  system  is  interposed 
between  the  film  to  be  copied  and  the  raw  film 
upon  which  the  copy  is  to  be  made).  By  far,  the 
largest  percentage  of  picture  film  printed  today  is 
printed  by  contact  methods.  It  does  not  seem 
likely  that  16-mm  picture  film  will  be  printed 
optically  in  the  near  future  for  a  number  of  rea- 
sons, not  the  least  of  which  is  the  lack  of  avail- 
able lenses  due  to  the  defense  program. 

The  use  of  Kodachrome  duplicates  has  been 
growing  very  rapidly  and  since  contact  printing 
of  Kodachrome  originals  will  continue  to  be  used 
for  some  time,  the  "non-standard"  emulsion  posi- 
tion will  continue  to  be  a  rapidly  growing  factor 
in  16-mm  sound-projection  that  can  not  be 
ignored. 

Some  Equipment  Problems  of  the  Direct 
16mm  Producer;  L.  Thompson,  The  Calvin 
Company,  Kansas  City,  Mo. 

The  production  of  industrial  films  by  the  direct 
16-mm  method  is  now  definitely  out  of  the  ex- 
perimental stage. 

As  more  industrial  work  is  done  by  this  method 
there  is  an  increasing  demand  for  more  and  bet- 
ter 16-mm  equpment  suitable  for  professional  use. 
Such  equipment  can  be  developed  successfully 
only  after  the  professional  user  has  found  by 
actual  experience  what  he  needs  and  wants. 

A  number  of  16-mm  professionals  were  asked 
for  suggestions  as  to  what  is  needed.  These  sug- 
gestions, combined  with  the  author's  own  ideas 
gained  over  a  period  of  10  years  in  the  profes- 
sional 16-mm  field,  form  the  basis  of  this  paper. 
Some  of  the  ideas  presented  could  be  acted  upon 
immediately;  some  of  them  can  not  be  put  into 
practice  until  the  demand  for  16-mm  service  be- 
comes even  greater. 

A     Constant-Torque     Friction     Clutch     for 


Film  Take-Up;  William  Hotine,  The  Rotovex 
Corp.,  East  Newark,  N.  J. 

From  the  standpoint  of  film  protection,  a  take- 
up  mechanism  should  be  reliable,  wear  should 
not  appreciably  alter  its  characteristics,  and  it 
should  maintain  the  film  tension  between  safe 
limits.  These  objects  are  attained  by  driving  the 
take-up  spindle  through  a  const  ant- tor  que  clutch 
of  novel  construction  and  design.  A  new  type  of 
friction-clutch  is  described,  which,  when  adjusted 
initially  to  deliver  a  given  safe  torque  to  the  take- 
up  spindle,  maintains  this  torque  at  a  constant 
value  of  which  can  not  be  exceeded.  The  clutch 
construction  is  simple  and  rugged,  and  wear  of 
the  friction  element  does  not  appreciably  affect 
the  operation.  Due  to  the  fact  that  the  torque  at 
the  take-up  spindle  is  maintained  at  a  constant 
value,  a  safe  value  of  film  tension  is  not  exceeded. 
An  analysis  of  the  forces  and  mechanical  constants 
of  the  clutch  mechanism  is  given,  deriving  an 
equation  of  these  in  terms  of  torque  delivered. 

Recent  Developments  in  Projection  Ma- 
chine Design;  E.  L.  Boecking  and  L.  W.  Davee, 
Century  Projector  Corp.,  New  York,  N.  Y. 

This  paper  discusses  the  design  features  of  a 
new  projector  to  meet  the  ever-increasing  demands 
for  accuracy  and  simplicity  required  by  modern 
projection  in  the  theater.  Basic,  fundamental, 
scientific  functions  of  motion  picture  mechanism 
design  are  discussed  relative  to  perfection  of  film 
motion,  clearer  definition,  light  transmission,  and 
picture   steadiness. 

As  in  the  design  of  any  scientific  mechanical 
device,  the  stability  and  inherent  durability  must 
first  begin  with  perfection  in  the  basic  design  and 
it  must  be  built  upon  a  foundation  of  engineering 
knowledge  proved  by  practical  operating  experi- 
ence. In  order  that  these  design  features  may  be 
appreciated  it  will  be  the  purpose  to  show  how 
every  step  of  the  engineering  design,  every  part 
of  the  mechanism,  and  every  motion  were  carefully 
planned  so  that  mechanical  perfection  could  be 
achieved. 

The  design  and  operation  of  the  gear-train  are 
discussed  with  respect  to  its  simplicity,  mechan- 
ical accuracy,  and  long  life ;  the  design  and  oper- 
ation of  the  bearings  are  reviewed  in  the  light 
of  recent  developments  relating  to  permanent 
operation  with  minimum  servicing;  and  the  inter- 
mittent movement  operation  is  analyzed  in  rela- 
tion to  more  stable  operation  and  steadier  picture 
reproduction. 

The  film-gate  and  film-trap  design,  providing 
more  uniform  film  travel  at  less  film  tensions,  is 
described  as  well  as  methods  of  obtaining  perfect 
placement  of  the  film  plane  with  respect  to  the 
optical  axis.  Finally,  the  theoretical  design  fea- 
tures of  single-  and  double-shutter  operation  are 
outlined  and  the  actual  operating  results  expected 
and  realized  discussed. 

Economic  and  Technical  Analysis  of  Arc 
Lamp  and  Screen  Light  Characteristics; 
H.  D.  Behr.  New  York,  N.  Y. 

Many  exhibitors  do  not  understand  what  is 
meant  by  the  relative  inefficiency  of  power  for 
ultimate  consumption  at  the  arc  in  comparison 
to  power  actually  delivered  at  arc.  Deficiencies 
in  various  parts  of  the  projection  plant  are  de- 
scribed and  a  value  is  placed  upon  losses  to  em- 
phasize the  need  for  constant  attention  to  details. 

Tables  are  presented  showing  the  excessive  car- 
bon and  current  costs  that  result  when  arcs  are 
operated  at  higher  currents  due  to  defects  in 
equipment.  Emphasis  is  placed  upon  the  fact  that 
too  many  arcs  operate  at  or  near  the  upper  limits 
for  which  they  were  designed  and  too  little  lee- 
way is  left  for  extra  current  to  increase  light  for 
dull    prints  or   color  prints. 

Some  ideas  are  given  as  to  what  to  look  for  in 
competitive  arc  equipments.  Various  procedures 
are  described  for  minimizing  current  and  carbon 
waste  due  to  poor  reflector  mirrors. 

Suggestions  of  projectionists  have  too  long  been 
ignored  by  managements.  The  latter  should  take 
a  little  time  from  their  booking  and  other  prob- 
lems to  ascertain  that  poor  screen  light  is  costly 
and  definitely  contributes  to  drops  in  attendance. 


22 


Yon  Write  the  Specifications 
for  Your  EYE  MO! 


•  When  you  come  to  Bell  &  Howell  for  a  35mm.  Eyemo, 
you  get  a  camera  that  is  custom  built  to  meet  your  individual 
needs. 

Perhaps  your  specifications  will  be  met  ideally  by  one  of 
the  seven  standard  models,  shown  here.  But  if  not,  there's 
no  need  to  compromise.  We  now  sell  the  Eyemo  in  just  one 
way— direct  from  the  factory  to  you— and  we'll  modify  any 
Eyemo  with  accessories  and  adaptations,  so  that  it  will  do 
superbly  all  the  things  you'll  ask  of  it. 

Then  you'll  have  a  camera  which  combines  the  individ- 
uality your  work  demands,  with  the  basic  quality  and 
dependability  that  have  made  Eyemos  supreme  in  their 
field.  Bell  &  Howell  Company,  Chicago;  New  York;  Holly- 
wood; Washington,  D.  C;  London.  Established  1907. 

EYEMO  MODEL  K  {right),  a  light,  simple  camera  for  quick 
field  work.  Single-lens  head.  Instant  lens  and  viewfinder  inter- 
change. Film  speeds— 12,  16,  and  24  f.p.s.  Aperture  optional- 
silent  or  sound  area — either  with  matching  viewfinder. 


EYEMO  MODELS  L  AND  M.  Compact, 

three-lens  turret  head.  "Sound"  field  viewfinder 
is  matched  to  six  lens  focal  lengths  by  turning  a 
drum.  "Sound"  aperture  plate.  Speeds:  Model 
L— 4,  8,  12,  16,  24,  and  32  f.p.s.;  Model  M— 8, 
12,  16,  24,  32,  and  48. 


EYEMO  MODELS  N  AND  O.  Three-arm, 
offset  turret  permits  broader  choice  of  lenses. 
Turret  lock  is  particularly  appreciated  with  long, 
heavy  lenses.  Visual,  prismatic  focuser  with 
magnifier.  Speeds:  Model  N— 4,  8,  12,  16,  24, 
and  32;  Model  O— 8,  12,  16,  24,  32,  and  48. 


EYEMO  ACCESSORIES  include:  carrying  cases— each  especially  de- 
signed for  certain  Eyemo  models  and  the  accessories  commonly  used 
with  them;  Eyemo  Heavy-duty  Tripod—  smooth-acting,  light  yet  sturdy  and 
steady;  alignment  gauge— permits  parallax  compensation  with  prismatic 
focuser  models;  lenses;  filters;  exposure  meters;  editing  equipment;  many 
others.  Descriptive  literature  gladly  supplied  upon  request. 

Send  Coupon  for  Complete  Information 


EYEMO  MODELS  P  AND  Q.  similar  to 

Models  N  and  O,  respectively,  except  equipped 
for  alternate,  optional  use  with  electric  motor 
and  external  film  magazines.  This  extends  the 
maximum  scene  length  from  5  5  to  400  feet. 
Finder  eyepiece  is  offset  to  avoid  interference. 


I       BELL  &  HOWELL  COMPANY 
1849  Larchmont  Ave.,  Chicago,  III. 

Please  send  complete  details  about:  (     )  Eyemo  3  5mr.-.. 
Cameras;  (     )  Accessories  for  Eyemos. 


Name. 


Address . 
City 


.State. 


-MADE        BY 


BELL 


H   O  W   E   L   L 


International  Photographer  for  October,  1941 


23 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TCLE  V 


1 

■  ^^Hm^H 

Dr.  Lee  de  Forest,  pioneer  of  yesterday  and   today. 


Never  once  since  his  invention  of  the 
audion  (three  electrode  radio  tube)  has 
Dr.  de  Forest  rested  upon  his  laurels.  He 
has  steadily  continued  his  ardous  work  in 
invention  and  research  in  electricity  and 
electronics,  and  now  has  nearly  300  patents 
in  the  United  States  and  foreign  countries. 
These  are  in  wireless  telegraphy,  radio  tele- 
phone, wire  telephone,  sound-on-film  talk- 
ing pictures,  high  speed  facsimile,  picture 
transmission,  television,  and  radio-therapy 
for  physicians. 

For  the  past  eleven  years  he  has  resided 
in  Los  Angeles,  following  his  sensational 
development  in  New  York  of  the  talking 
picture  film.  During  this  time  Dr.  de  For- 
est has  been  engaged  in  important  research 
in  (lie  field  of  television  and  more  recently 
in  that  of  short  wave  or  radio  diathermy, 
as  well  as  in  certain  adaptations  of  radio 
signalling  to  the  needs  of  aviation.  This 
latter  applies  particularly  to  a  terrain  alti- 
meter to  enable  the  pilot  of  an  airplane  to 
know  at  all  times  his  exact  height  above 
the  earth,  or  his  distance  from  a  mountain 
side. 

During  the  course  of  his  research  work 
in  radio  diathermy  Dr.  de  forest  invented 
and  perfected  his  "Radio-Glow"  method  of 
applying  weak  high-frequenev  currents,  by 

24 


means  of  an  especially  designed  facial 
mask,  to  the  face  and  throat.  This  is  for 
use  in  beauty  parlors  to  benefit  and  im- 
prove the  complexion  by  application  of 
short  wave  high  frequency  currents  to  the 
skin  and  underlying  tissues  of  the  cheeks 
and  throat. 

This  treatment  and  the  apparatus  for  ap- 
plying it,  which  he  calls  the  Relaxor,  has 
after  two  years  of  investigation  and  experi- 
mentation been  perfected  to  a  degree  where 
the  Doctor  now  feels  it  is  ready  to  be  of- 
fered to  the  public.  According  to  the  in- 
ventor this  method  of  treatment  generates 
infra-red  or  heat  rays  within  the  tissues, 
aiding  the  conduction  of  dissolved  sub- 
stances into  the  membranes  by  heat  and 
molecular  vibration  of  the  cells  and  tissues, 
keeping  the  oils  and  creams  spread  on  the 
surface  of  the  skin  under  constant  but 
gentle  heat,  opening  the  pores  and  pene- 
trating dormant  cells  and  tissues.  As  the 
name  "Relaxor"  implies,  one  is  said  to  ex- 
perience a  feeling  of  relaxation  of  tense 
muscles  and  nerves,  which  must  be  bene- 
liieial  during  these  tense,  history  making 
days,  as  Europe  alone  does  not  suffer  from 
this  hideous  "war  of  nerves." 

While  the  Relaxor  is  a  recent  invention 
in  the  realm  of  physical  therapy,  as  early 


By  Duster  Evans 

as  1907  Dr.  de  Forest  gave  to  the  surgical 
world  the  "Cold  Cautery"  or  radio  knife. 
He  is  today  actively  in  charge  of  all  re- 
search, design  and  developmental  work  at 
the  Lee  de  Forest  Laboratories,  where  his 
short  wave  diathermy  apparatus  is  manu- 
factured and  distributed. 

Physicians  are  today  beginning  to  realize 
the  benign  possibilities  of  radio-therapy, 
when  properly  applied,  to  the  ailments  and 
diseases  of  mankind. 

Not  only  is  the  machine  applied  to  man 
— but  to  his  pets  as  well.  Many  veterinari- 
ans now  use  short  wave  diathermy  to  re- 
lieve the  suffering  of  household  pets  and 
live  stock.  As  early  as  1935  a  rather  un- 
impressive fat  steer  exhibited  at  the  Great 
Western  Livestock  Show  in  Los  Angeles 
stole  much  of  the  attention  away  from  the 
show's  champions.  That  fat  steer  was  the 
first  calf  ever  treated  for  pneumonia  by 
short  wave  radio.  It  had  been  included  in 
a  carload  of  stock  exhibited  by  the  Hatha- 
way Ranch,  of  Santa  Fe  Springs,  Califor- 
nia, and  named  "De  Forest"  in  honor  of 
Dr.  Lee  de  Forest. 

One  could  go  on  indefinitely  reviewing 
the  wonders  which  have  resulted  from  the 
life  work  of  Dr.  Lee  de  Forest.  It  is  im- 
possible to  conceive  all  the  benefits  spring- 
ing from  his  initial  invention  of  the  audion 
amplifier  tube.  This  little  tube,  once  re- 
ferred to  in  our  courts  as  "a  worthless 
piece  of  glass,"  has  given  us  the  present 
long  distance  phone,  the  talking  motion  pic- 
ture, and  all  the  pleasures  of  radio  in  our 
homes,  to  say  nothing  of  the  many  thous- 
ands who  are  now  employed  in  these  great 
and  growing  industries;  or  of  the  countless 
human  lives  saved  at  sea  by  the  S.O.S.  call 
and  the  numberless  thousands  whose  pain 
and  suffering  have  been  relieved  by  his 
medical  diathermy  apparatus. 

I  don't  believe  there  is  a  healthier  man 
in  America  than  Dr.  de  Forest — every  day 
he  takes  a  long  walk  and  exercises.  Many 
years  ago  he  stopped  smoking  cigarettes 
when  he  realized  they  could  not  do  him  any 
good.  Vacationing  in  August,  he  climbed 
5,500  feet  up  to  Mt.  Black,  just  to  try  his 
legs,  lungs  and  heart,  followed  by  a  dash 
up  to  Mt.  Shasta  14,380  feet. 

Dr.  de  Forest  has  always  been  a  great 
inspiration  to  young  men  who  have  aspired 
to  make  headway  in  the  electronic  field, 
and  it  was  for  this  purpose  that  he  laid 
out  DeForest's  Training  which  is  associated 
with  the  Herman  A.  DeVry  Corp.,  manu- 
facturers of  the  world's  largest  line  of  mov- 
ing picture  sound  equipment.  Many  young 
men  in  the  army  and  navy  and  electrical 
(Continued  on  page  26) 


TRflDEW 


"Slidetitles"  Available  from  B  &  H 

Film  titling  service  is  no  longer  confined 
to  amateur  movie  makers,  according  to  an 
announcement  just  received  from  Bell  & 
Howell.  "Good  titles  will  add  just  as  much 
interest  to  a  show  of  projected  still  pic- 
tures," says  B  &  H,  "as  they  do  to  a  movie 
show,  and  we  are  now  prepared  to  furnish 
'our  entire  selection  of  79  Title-Craft  back- 
grounds on  Slidetitles." 

The  announcement  states  further  that  the 
Slidetitles,  furnished  on  35mm.  film  in 
,  2"x2"  standard  cardboard  mounts,  are 
available  in  two  two-tone  combinations  for 
use  with  color  transparencies:  green  with 
gold  overtones  and  gold  letters  or  brown 
with  gold  overtones  and  gold  letters. 

Title-Craft's  stock  of  backgrounds  in- 
cludes two  types,  photograph'c  and  poster, 
and  is  said  to  contain  subjects  suitable  for 
every  season  and  a  wide  variety  of  occa- 
sions. 

Prices  on  Title-Craft  Slidetitles  on  poster 
backgrounds  begin  at  25c  per  title,  on  pho- 
tographic backgrounds  at  35c  per  title. 

For  further  information,  write  the  Bell 
&  Howell  Company,  1801  Larchmont  Ave- 
nue, Chicago,  Illinois. 


Agfa  Offers  Greeting  Card  Outfit 

Again  Agfa  Ansco  offers  an  outstanding 
line  of  attractive  holiday  greeting-card  ma- 
terials that  will  be  of  particular  interest  to 
the  amateur  photographers  who  make  their 
personal  Christmas  Cards. 

Greeting,  Card  Outfit  1A  contains  four 
different  film  masks  of  extremelv  attractive 
design,  and  special,  new,  stencilling  mate- 
rials for  reproducing  the  user's  signature 
on  the  cards  photographically — with  com- 
plete instructions  for  use.  The  masks  are 
5x7"  overall  and  are  proportioned  to  use 
paper  of  the  standard  4^x5%"  greeting- 
card  size.  Three  of  the  masks  contain  cut- 
out openings  of  2x3"  to  take  negatives  with 
a  vertical  format,  and  the  remaining  mask 
takes  horizontal  negatives.  The  1A  Greeting 
Card  Outfit  is  obtainable  through  regular 
photographic  dealers  at  $1.25  each. 

Three  especially  designed  masks,  which 
sell  separately  at  $.65  list  each,  are  avail- 
able to  accommodate  various-size  nega- 
tives. 

A  special  surface  of  Agfa  paper,  known 
as  Greeting  Card  Special,  is  provided  for 
use  in  making  greeting  cards.  This  paper 
is  priced  the  same  as  Convira  double 
weight  and  is  supplied  in  four  grades  of 
contrast  in  deckled  41/4x51/2"  size. 

White  vellum  envelopes,  either  lined  or 
unlined,  are  also  available.  These  envel- 
opes make  an  attractive  combination  when 
used  with  photographic  Christmas  Cards 
and  list  at  the  following  prices:  Unlined — 
25  for  20c,   100  for  75c,  500  for  $2.65; 


Lined— 25  for  30c,  100  for  $1.15,  500  for 
$4.15. 


B  &  H  Illumination  Explained 

We  noted  not  long  ago  that  Bell  &  How- 
ell is  now  using  smooth-base  projection 
lamps,  still  retaining  the  centering  ring  that 
this  company  has  employed  for  many 
years.  Since  no  other  manufacturer  has 
ever  adopted  such  a  ring,  we  were  moved 


to  wonder  why  Bell  &  Howell  continues  to 
go  to  the  trouble  of  putting  a  centering 
ring  on  each  projection  lamp.  And  we 
wondered,  too,  just  how  this  "pre-align- 
ing"  is  done  by  the  makers  of  Filmo.  So 
we  asked. 

"This  is  another  example,"  said  B  &  H 
"of  the  manner  in  which  standard  products 
are  tested,  refined,  and  improved  when 
used  in  B  &  H  equipment.    This  pre-align- 


Eastman  Kodascope  Eight-33  Projector,  described  in  September  issue. 


International  Photographer  for  October,  1941 


25 


ing  ring  is  put  on  the  lamp  so  that  our 
owners  will  get  the  brightest  possible  pic- 
tures. Our  engineers  have  proved  that  there 
is  no  other  way  to  be  sure  of  maximum 
illumination. 

When  the  lamp  is  thus  pre-aligned,  still 
held  rigidly  in  position  in  the  machine,  the 
well-known  B  &  H  tongued  ring  is  brazed 
to  the  lamp  base  in  the  correct  locating 
position.  The  tongue  on  the  ring,  says  the 
company,  guides  the  lamp  to  the  one  and 
only  position  in  the  projector  wherein  it 
can  place  all  the  light  where  it  belongs — 
on  the  screen. 

Thus,  says  Bell  &  Howell,  each  lamp  is 
a  custom  job,  built  for  the  Filmo  Projector 
into  which  it  will  go. 

"Our  lamps  are  just  like  any  other  pro- 
jection lamps  when  we  get  them.  However, 
incoming  inspection  rejects  and  sends  back 
all  but  the  best,  and  then  our  laboratory 
goes  to  work  on  the  lamps  we  keep." 

The  selected  lamp,  Bell  &  Howell  con- 
tinues, is  placed  in  a  specially-built  align- 
ing and  brazing  machine,  wherein  the  lamp 
is  lighted.  The  image  of  the  filament  is 
then  projected  upon  an  optical  target,  and 
with  micrometer  screws  the  lamp  is  turned, 
raised,  or  lowered,  until  the  filament  image 
is  accuratey  focused  on  the  exact  center  of 
the  Filmo  Projector  optical  system.  B  &  H 
states  that  this  adjustment  is  accurate  with 
.002  inch. 

But  even  that  isn't  the  whole  story.   This 


GOERZ 


KINO-HYPAR 
LENSES 

I       f:2.7  and  f:3 

I  for     regular     and     color 

•  movies  of  surprising 
f  quality.  High  chromatic 

•  correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 
j      in    suitable    focusing    mounts    to    Amateur    and 
Professional  Movie  Cameras. 


GOERZ   Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


\ 

I    COERZ    Parallax-Free   FOCUSER    \ 
(    and    FIELD    FINDER    CONTROL    ( 


)      for  Filmo   121    and  Simplex-Pockette,   no   more      i 

•      off-center  pictures,  magnifies  4  and  8x. 

'  For   Detailrd    Information     itl.lr.it  I 


')  It.- ,,l.  IP  111  \ 

•    C.  P.  Coerz  American  Optical  Co.    : 

317   East   34th  St.,   New  York  f 

American    Lens    Makers    Since     1899 


company  goes  to  extremes  in  the  matter  of 
picture  brilliance,  so,  not  content  with 
microscopic  accuracy  in  placing  the  lamp 
exactly  right  in  the  projector,  B  &  H  pro- 
vides a  reflector  adjustment  in  the  projec- 
tor, to  compensate  for  variations  in  indi- 
vidual lamp  filament  coils!  This  makes  it 
possible,  says  Bell  &  Howell,  to  interlace 
the  reflected  filament  images  with  the  fila- 
ment coils  themselves,  thus  providing  better 
light  distribution  over  the  screen  area. 

This  extreme  attention  to  picture  bril- 
liance is  applied  to  both  8mm.  and  16mm. 
Filmo  Projectors. 

For  further  information  on  this  or  any 
other  detail  of  projector  construction,  write 
the  Bell  &  Hwell  Company,  1801  Larch- 
mont  Avenue,  Chicago,  Illinois. 


TELEVISION 

(Continued  from  page  24) 

plants  in  the  United  States  owe  these  op- 
portunities to  Mr.  DeVry  and  Dr.  De  Forest 
for  the  fine  extensive  training  they  received. 

When  I  spoke  to  Dr.  DeForest  a  short 
time  ago  he  said,  "Never  in  the  history  of 
radio,  television,  frequency  modulation 
and  sound  pictures  have  there  been  so 
many  opportunities  offered  to  young  men 
for  a  good  commercial  training  in  these 
fields.  New  beacon  stations  are  being 
built,  new  air  routes  being  developed,  tre- 
mendous building  programs,  both  marine 
and  aviaiton  for  commerce  and  defense. 
Frequency  modulation  has  spread  to  23 
states,  with  53  stations  licensed,  and  59 
pending." 

Any  young  man  can  be  a  part  of  this 
growth  by  entering  the  electronic  field  and 
those  wishing  to  secure  information  may 
address  the  author,  care  International 
Photographer. 


Grover  Camera  Features 
Mono-Rail  Bed 

The  new  Grover  Camera,  now  being  pro- 
duced by  Burke  &  James,  Inc.,  of  Chicago, 
is  available  in  the  4x5,  5x7,  and  8x10  inch 
sizes.  Its  most  outstanding  feature  is  its 
mono-rail  bed.  This  consists  of  a  hexagon 
shaped  rail,  upon  which  are  mounted  the 
lens  standard,  the  tripod  mounting  plate 
and  the  camera  back.  A  micromatic  fric- 
tion focusing  drive  is  fitted  on  both  front 
and  rear.  The  hexagon  shape  of  the  rail 
bed  assures  perfect  alignment  of  front  and 
back — and  eight  bearing  surfaces  or  con- 
tacts provide  perfect  slip-proof  traction  for 
the  friction  focusing  drive.  The  tension 
maintained  on  these  bearing  points  is  of 
the  automatic  take-up  type — and  the  ten- 
sion is  adjustable  to  suit  the  operator. 

Operating  adjustments  on  both  lens  front 
and  camera  back  include  rise  and  fall,  side 
shift,  swing  and  tilt.  The  removable  lens- 
board  permits  instant  interchange  of  lenses. 
Extreme  wide  angle  or  telephoto  lenses 
may  be  used. 

The  camera  back  on  the  4x5  model  is  of 
the  revolving  type,  permanently  attached 
to  the  body,  and  light  tight  in  all  positions. 
It  may  be  rotated  from  horizontal  to  ver- 
tical position  instantly.  The  5x7  and  8x10 
camera  have  a  reversible  back.  The  full 
size  ground  glass  focusing  panel  is  fitted 
with  a  four  sided,  folding  light  hood. 

These  cameras  which  are  of  all  metal 
construction  are  fitted  with  a  durable 
double  extension  bellows  finished  in  silver 
grey  to  match  the  chrome  finish  of  the 
metal  parts. 

The  4x5  inch  camera  sells  for  only 
$59.50,  5x7  inch,  $69.50  and  the  8x10  inch 
$89.50.  Illustrated  descriptive  literature 
may  be  had  direct  from  Burke  &  James, 
Inc.,  223  W.  Madison  St.,  Chicago,  Illinois. 


CORRECTION 


In  our  August  issue,  page  9,  lower  right  hand  picture,  only  part  of  the  eamera 
crew  were  mentioned.  We  repeat  the  picture  with  apologies  for  the  oversight. 
Ineluded  in  the  photograph  are  Cecil  Wright,  Warren  Lynch,  Alfred  Smalley, 
Kddie  Fitzgerald,   Arthur   Edeson,   George   Bourne,   Mike  Joyce,   Wally    Mainardus. 


26 


l6MM.  dEpARTMENT 


FILTERS — THEIR  USE  AND  MISUSE 

As  bad  as  never  using  a  filter  at  any 
time  for  any  purpose  whatsoever  is  the 
practice  of  using  a  filter  just  to  be  using 
one.  In  fact,  the  latter  is  probably  worse. 
Present  day  films  are  so  balanced  when 
panchromatism  is  introduced  that  for  any 
ordinary  scenes  the  omission  of  a  filter  re- 
sults in  a  far  more  natural  result  —  and 
pleasing  result — than  the  promiscuous  use, 
or,  rather,  thoughtless  use,  of  the  filters  at 
hand. 

To  begin  with,  filters  have  many  differ- 
ent uses.    Primarily,  they  were — and  are — 
,  used  to  bring  the  response  of  the  emulsion 
:  used  more  nearly  to  that  of  the  eye.    All 
films  are  more  sensitive  to  blues  than  to 
'  any   of   the   other   colors,    and    unless   the 
strength  of  the  blue  rays  entering  the  lens 
,  is  lessened  the  exposure  necessitated  is  such 
that  the  other  colors  do  not  have  a  chance 
j  to  act  completely  upon  the  emulsion,  with 
the  result  that  they  are  not  photographed 
in  their  true  relationship. 

Perhaps  it  would  be  better  to  first  look 
into  the  action  of  filters.    Actually,  if  we 
.  have  a   red   filter  —  pure  red  —  this  filter 
•  would  pass  only  the  red  rays  of  the  spec- 
;  trum,  and  hold  back  all  the  others.     This 
,  would  also  be  true  of  all  the  other  color 
■   filters.    An  important   point  to  remember, 
however,  is  that  this  is  true  only  of  a  filter 
'   that  is  known  to  be  true  in  color,  such  as 
;   the  primary  tri-color  filters  A,  B,  and  C 
i   used  in  making  three-color-separation  nega- 
tives.    (In   actual   practice,   however,   such 
;    filters  are  rarely  used   except  for  making 
separation   negatives   and   in   special  cases 
1    for  black   and  white  work.)     Going   back 
to  the  operation  of  the  filters,  a  yellow  fil- 
ter would  hold  back  the  blue  sky,  which 
I    would  photograph  as  white  without  correc- 
tion, and  permit  a  normal  exposure  of  the 
foreground  while  the  sky  would  be  photo- 
graphed   in    a    normal    tone.     Hence,    any 
clouds  appearing  in  the  sky  would  photo- 
graph as  clouds  instead   of  being  lost  in 
the  mass  of  white  that  would  represent  the 
sky. 

Distortion  of  color  response  would  be 
true  wherever  a  noticeable  amount  of  blue 
were  present,  and  could  be  corrected  by 
the  introduction  of  a  light  yellow  filter  to 
hold  back  the  blue  a  little,  giving  the  other 
colors  a  chance  to  act  normally  upon  the 
emulsion,  without  burning  up  the  blues 
because  of  the  greater  sensitivity  of  the  film 
to  that  color.  A  scene  photographed  in 
this  manner  would  result  in  a  pleasing  pic- 
ture, with  the  tones  represented  naturally — 
as  they  really  are. 

When  a  deep  blue  sky  is  present,  very 
little  correction  is  needed.  Should  the 
heavier  filters  be  used,  overcorrection  will 
result  which  will  render  it  unnatural,  and 
if  any  clouds  are  present,  they  will  take  on 


the  aspect  of  storm  clouds.  On  the  other 
hand,  if  the  sky  is  a  hazy  one,  such  as 
seems  to  be  present  over  Hollywood  so 
much  of  the  time,  ( San  Franciscans  and 
Chamber  of  Commerce  please  note!  )  then 
a  much  greater  amount  of  correction  will 
be  found  necessary  in  order  to  keep  the  sky 
from  going  "bald."  The  foreground  will 
still  be  overcorrected,  but  this  effect  will 
not  be  so  noticeable  because  of  the  natural 
appearing  sky.  The  ideal  way  to  deal  with 
a  condition  of  this  sort — and  this  used  pro- 
fessionally— is  to  use  a  graduated  filter, 
where  the  top  portion  covering  the  sky 
may  be  a  23A  or  25  ( light  and  heavy  red, 
respectively)  which  blends  down  into  an 
Aero  1  or  2  (very  light  yellows)  covering 
the  ground.  While  this  is  one  of  the  most 
common  uses  of  a  filter,  it  is  only  one  use. 

Filters  have  the  ability  of  changing  the 
contrast  existing  in  the  scene.  Used  in 
scenes  where  there  are  strong  contrasts  in 
the  form  of  strong  highlights  and  fairly 
deep  shadows,  the  3N5  and  5N5  will  soften 
the  scene  down.  On  the  other  hand,  filters 
like  the  21,  G,  (both  deep  yellow)  the 
23A  and  the  25  (reds)  will  make  a  rather 
flat  looking  scene  photograph  with  a  much 
greater  contrast.  It  must  be  emphasized 
that  this  change  of  contrasts  will  be  ef- 
fected at  the  expense  of  true  rendition  of 
colors,  and  must  be  used  with  this  thought 
in  mind. 

To  bring  home  a  point,  let  us  consider 
for  a  moment  a  haystack  against  a  blue 
sky  in  which  there  are  clouds,  and  where 
the  rest  of  the  field  is  a  fairly  deep  green. 
Photographed  without  a  filter  of  any  kind, 
the  yellow  haystack  would  go  very  light 
because  of  the  high  sensitivity  of  the  pan- 
chromatic film  to  yellows;  the  blue  sky 
would  go  white  because  of  the  unnatural 
sensitivity  of  the  film  to  blues,  while  the 
green  would  photograph  quite  naturally. 
The  introduction  of  a  light  yellow  filter 
(such  as  the  Aero  1)  would  hold  the  sky 
back  to  a  neutral  tone  sufficiently  to  per- 
mit the  clouds  to  stand  out,  without  permit- 
ting the  yellow  haystack  to  build  up  too 
strongly  because  of  the  high  yellow  sensi- 
tivity of  a  panchromatic  film,  and  would 
not  hold  too  much  blue  back  to  make  the 
grass  go  too  dark.  Green,  you  will  remem- 
ber, is  a  combination  of  yellow  and  blue. 
If  a  heavy  filter  were  used  here,  we  would 
have  a  sky  that  would  be  too  dark,  clouds 
looking  like  storm  clouds,  a  white  hay- 
stack, and  green  green  grass  or  other  foli- 
age that  would  go  too  dark,  almost  black, 
in  fact.  On  the  other  hand,  if  the  sky  were 
not  a  deep  blue  but  rather  hazy  and  flat  in 
character,  then  the  heavy  filter  would  be 
called  for.  It  would  take  a  deep  filter  to 
give  character  to  the  sky  and  make  it  ap- 
pear a  natural  blue;  the  haystack  could  be 
printed  down  a  little  deeper  to  keep  it 
from  going  white;  and  the  added  exposure 


that  would  be  necessary  for  such  a  light 
condition  would  enable  the  foliage  to  build 
up  to  a  value  to  keep  from  going  black. 
There  are  conditions  where  a  red  filter 
would  not  result  in  a  picture  giving  the 
appearance  of  being  overcorected  by  add- 
ing the  proper  amount  of  contrast  to  an 
otherwise  flat  scene. 

A  filter  little  used,  but  none  the  less 
very  useful,  is  the  neutral  density  filter. 
This  filter  has  no  color  corrective  proper- 
ties, but  is  merely  of  a  grayish  tint  for  the 
purpose  of  holding  back  some  of  the  light. 
It  is  particularly  useful  where  there  is  a 
strong  glare  "kicking  back"  from  sidewalks, 
streets,  and  objects  of  highly  reflective 
natures,  and  when  shooting  with  the  sun 
coming  from  behind  the  subject.  It  is  also 
of  great  value  when  it  is  desired  to  work 
with  the  larger  lens  apertures  on  close-ups 
to  give  the  background  a  softness  that  re- 
sults when  the  depth  of  focus  is  made 
smaller  by  using  a  wider  stop.  Frequently, 
too,  one  finds  when  using  the  fast  films 
that  the  aperture  indicated  is  smaller  than 
is  physically  possible  with  the  equipment 
at  hand,  such  as  when  shooting  in  bright 
sunlight  and  where  the  lens  will  not  stop 
below  f:16,  and  the  shutter  is  not  of  the 
adjustable  variety.  The  only  solution  here 
is  the  use  of  the  neutral  density  filter. 

Night  effects  can  be  simulated  in  bright 
daylight  by  the  proper  use  of  filters.  An 
excellent  combination  is  the  23A  and  56, 
where  the  film  is  not  too  red  sensitive,  such 
as  the  regular  panchromatic.  The  extreme 
red  sensitivity  of  the  faster  films  makes  the 
use  of  the  72  and  80  more  desirable.  The 
most  satisfactory  and  pleasing  is  the  use 
of  the  infra-red  number  88,  used  with  infra- 
red film,  but  this  is  something  that  should 
not  be  attempted  by  the  novice  because  of 
the  nature  of  infra-red  film,  and  the  prob- 
lems its  use  will  poise. 

Filters  should  not  be  used  indoors  with 
incandescent  lighting,  unless  they  are  used 
for  special  effects,  and  under  special  con- 
ditions. The  spectrum  of  a  standard  nitro- 
gen filled  bulb  is  such  that  the  light  is 
equivalent  to  a  light  yellow  filter,  and  the 
use  of  a  filter  would  result  in  a  distortion 
similar  to  overcorrection.  True,  there  are 
times  when  deep  blue  eyes  would  be  lost 
and  go  white  unless  the  blues  would  be 
held  back  a  little  by  means  of  a  light  yellow 
filter.  And  there  are  times  when  certain 
types  of  blond  hair  would  go  white  in  a 
close-up  without  the  use  of  a  light  blue 
filter.  But  these  are  problems  for  the  ex- 
pert, and  unless  the  amateur  has  reached 
that  stage  of  proficiency  where  he  can  deal 
with  them  accordingly,  his  efforts  will  re- 
sult in  failures. 

The  use  of  filters  for  color  photography 
requires  an  entirely  different  approach.  The 
sole  use  of  filters  with  Kodachrome  is  for 
the  maintenance  of  a  given  specific  color 
temperature,  and  never  to  correct  the  film 
response  to  the  visual  response,  nor  to  cor- 
rect for  contrasts.  In  using  filters  with 
Kodachrome,  a  color-  temperature  meter  is 
(Continued  on  page  28) 


International  Photographer  for  October,  1941 


27 


Pfl  T  £  n  T  s 

By  ROBERT  W.  FULWIDER,  Patent  Attorney,  Los  Angeles 


No.  2,251,365 — Photographic  Sensitive 
Material.  Alfred  Miller.  Germany,  as- 
signor to  General  Aniline  and  Film  Cor- 
poration.   Application  July  26,  1938.   In 
Germany  July  28,  1937.    7  claims. 
A  film  having  an  emulsion  sensitive  to  one 
color,  and  a  second  emulsion  superimposed 
on   the   first   emulsion    and   sensitive   to    a 
different  color,  with  an  anti-halation  hack- 
ing which  absorbs  the  light  to  which  the 
first  emulsion  is  sensitive. 
No.  2,251,777 — Sensitized  Photographic 
Emulsion.  Fritz  Bauer  and  Gustav  Wil- 
manns,   Germany,    assignors   to    General 
Aniline   &    Film    Corporation.     Applica- 
tion December  8,  1939.   In  Germany  De- 
cember 9,  1938.   2  claims. 
Photographic    silver    halide    gelatin    emul- 
sions containing   a   furyloxdiazole-trimeth- 
inecyanine  dyestuff. 

No.   2,251,850 — Method   of  and  Appar- 
atus for  Producing  Stereoscopic  Pic- 
tures.   Ciro  Fidel  Mendez.  Mexico  City, 
Mexico.     Original    application    July    8, 
1936.    Divided  and  this  application  May 
6,  1939.    3  claims. 
A  method   of   producing  stereoscopic   pic- 
tures by  projecting  a  normal   picture  and 
vertically  distorting  it,  and  then  reflecting 
it   from    a   concave   cylindrical    surface  to 
produce  horizontal  distortion. 
No.  2,251,965 — Color  Photography  and 
Color    Photograph.    Honore    Verkin- 
deren,     Belgium,     assignor    to     Gevaert 
Photo-Producten,  N.  V.,  Belgium,  Appli- 
cation    March    11,     1938.      In    Austria 
March  30,  1937.  2  claims. 
A  method  of  producing  a  color  photograph 
in  which  d'fferent  emulsions  carrv  different 
color  values,  the  method  including  devel- 
oping, fixing,  and  converting  the  silver  to 
a  silver  salt  image,  separately  exposing  the 
outer   emulsions   to   ultra    violet   light   and 
toning  them,  and  then  exposing  the  inner 
emulsion  to  white  light  and  toning  it. 
No.  2,252,006 — Sound-Picture  Film  and 
Method  of  Printing  the  Same.  Gilles 
Hoist,    Roelof  Jan    Hendrik   Alihk,   and 
Klass  Jannes   Keuning,   Netherlands,  as- 
signors to  Hartford  National  Bank  and 
Trust     Company,     Hartford,     Conn.,     as 
trustee.     Application    Jan.    6,    1939.     In 
Germany  Jan.  8,  1938.    4  claims. 
A  method  of  printing  a  sound  film  in  which 
the  sound  record  is  printed  from  the  sound 
negative  and  the  picture  record   is  printed 
from    the   picture   negative  and   through   a 
screen   adjacent  the  positive  film. 
No.  2,252,282 — Sound  Film  Reproducing 
SYSTEM.   Arthur  C.  Blaney,  assignor  to 
Radio   Corporation   of   America.    Appli- 
cation  April  22,  1940.    8  claims. 
The    method    of    reproducing    a    push-pull 


sound  record  comprising  illuminating  said 
record  with  a  narrow  beam  of  light  posi- 
tioned at  an  angle  of  substantially  30°  to 
a  line  normal  to  the  direction  of  move- 
ment of  said  record,  and  impressing  the 
light  emerging  from  said  record  on  a  pho- 
toelectric cell. 

No.  2,252718 — Reversal  Process  of  Col- 
or Photography.  Leopold  D.  Marines, 
Leopold  Godowsky,  Jr.,  and  Lot  S.  Wil- 
der, assignors  to  Eastman  Kodak  Com- 
pany.    Application    Jan.    19,    1938.     In 
Great    Britain    November    19,    1937.     6 
claims. 
A  method  of  forming  colored  photographs 
by  exposing   and  developing  a  multilayer 
film,    and   then    individually    exposing   the 
different   emulsions    and    developing   them 
in  color-forming  developers,  and  finally  re- 
moving the  first  silver  images. 
No.    2,253,070  —  Color    Correction    in 
Printing  Multilayer  Film.  Ralph  W. 
Evans,  assignor  to  Eastman  Kodak  Com- 
pany.   Application  August  16,  1940.    4 
claims. 
A    method    of    making    a    color-corrected 
photograph    in    which    the    color    sensitive 
emulsions  are  covered  with  a  fogged  silver 
halide  layer  which  is  later  used  as  a  cor- 
recting mask. 

No.  2,253,874— Film  Coupling.    William 
B.  Tucker  and  Frank  W.  Taylor,  assig- 


They  SAy 


*** 


•  Fifty-four  studio  employes  who  are  offi- 
cers and  members  of  the  Photographic 
Unit,  Naval  Reserve,  called  for  duty  by 
the  Navy,  seventeen  to  report  to  Washing- 
ton and  the  others  to  the  Naval  Air  Station 
at  San  Diego.  Called  for  report  to  Wash- 
ington are  Ensign  Ray  Kellogg,  reporting 
to  Coordinator  of  Information;  Lieutenants 
Joseph  H.  August,  Alfred  L.  Gilks,  Allen  G. 
Siegler,  Harold  H.  Wenstrom;  Chief  Photo- 
graphers Robert  Rhea  and  William  J. 
Wheeler;  Photographers  First  Class  George 
Irvine,  George  Jones,  Edward  Smith  and 
Wallace  White,  Jr.;  Photographers  Second 
Class  Edward  Hamilton.  Benjamin  Heath, 
Hontis  Jones,  Jack  MacKenzie,  E.  H.  Tron- 
owsky  and  Rodney  Yould. 

Called  to  San  Diego  Naval  Air  Station 
are  Chief  Photographers  Frederick  Ander- 
son, Vincent  Farrar,  Kenneth  Peach,  Louis 
Tyrell,  Allen  Stein  and  Lou  Yaconelli; 
Photographers  First  Class  Charles  Bjork- 
man,  Hartman  Cooper,  Edward  Hartman. 
Paul    King    and    George    Tuttle:    Photoe- 


nors  to  Technicolor  Motion  Picture  Cor- 
poration. Application  April  4,  1940.  3 
claims. 
A  device  for  fastening  two  ends  of  film  to- 
gether, and  consisting  of  two  ribbon-like 
pieces,  each  attached  to  its  respective  end 
of  film,  with  a  pocket  formed  in  one  piece 
into  which  a  hook  formed  in  the  other  may 
snap. 


16m  m. 


(Continued  from  page  27) 
used  to  determine  the  color-temperature  of 
the  light  working  under,  and  then  if  this 
value  differs  from  the  value  for  which  the 
film  was  balanced,  a  filter  is  chosen  which 
will  bring  the  light  to  the  proper  value. 
The  only  way  in  which  the  sky  can  be  made 
deeper  than  it  really  is,  is  by  means  of  a 
Polascreen.  This  polarizes  the  light  coming 
through  it,  and  if  it  is  rotated  in  a  certain 
position  so  as  to  permit  only  a  portion  of 
the  light  coming  from  the  sky  to  go 
through  because  of  the  plane  of  its  polari- 
zation, then  the  sky  will  appear  darker 
than  its  hazy  appearance  ordinarily  would 
permit  without  the  use  of  the  Polascreen. 

CLASSIFIED  ~ 

WANTED  TO  BUY  FOR  CASH  EYEMO 
CAMERA.  Box  L-64,  International  Photo- 
grapher,   6461    Sunset    Blvd.,    Hollywood. 

EYEMO  CAMERA  WANTED.  Will  pay  cash.  Give 
full  details  first  letter.  Address  Box  155,  Deerfield, 
Illinois. 

FOR  SALE:  DUPLEX  COLOR  PRINTER  with  regis- 
ter pins,  perfect  condition,  price  $1250.  Moore  Pro- 
cess, Inc.,  1010  Mission  St.,  So.  Pasadena.  Phone 
SYcamore   95281. 

WANTED  TO  BUY  FOR  CASH— Bell  &  Howell  Cam- 
era complete.    Box  L-61.  International  Photographer. 


By  RELLA 

raphers  Second  Class  Glen  Christman, 
Nicholas  DeMoss,  Frederick  Dieterich,  Ger- 
malia  Gates,  Isadore  Gold,  Ray  Grimes, 
Robert  Harris,  Harold  Hogan,  John  How- 
ard, Jack  Johnston.  Myron  Miller,  Harry 
Nichols,  Robert  Orton.  Al  Shaffer  and  Law- 
rence Work;  Photographers  Third  Class 
Robert  Brown.  Bryan  Hargreaves,  John 
Helmick  and  Paul  Wurtzel. 

•  George  Hurrell,  whose  portraits  have 
been  appearing  in  Esquire  for  several 
years,  now  heads  photographic  department 
of  that  magazine  on  West  Coast.  Hurrell 
will  continue  his  own   portrait  work  also. 


•  Eric  Mavell.  cameraman  Movietone 
News,  awarded  a  Navy  Expeditionary 
Medal,  presented  by  Secretary  of  the  Navy, 
Frank  Knox,  for  "commemoration  of  the 
services  rendered  by  you  to  the  survivors 
of  the  U.  S.  S.  Panay  upon  the  occasion 
of  its  bombing  December  12,  1937." 


28 


The  only  tangible  result 
of  the  millions  of  dollars 
spent  in 

motion  picture  production 
is  in  the  negative 

The  safest  and  surest  protection 
of  these  millions  is 

EASTMAN 

NEGATIVE  FILMS 

reflected  in  their 
brilliant  best 
with 

EASTMAN 

POSITIVE  PRINTS 


J.  E.  BRULATOUR,  INC, 

DISTRIBUTORS 


CONSTANT 
VIGILANCE 


RIGID  laboratory  control,  with  critical 
tests  all  along  the  way,  sees  to  it  that 
every  foot  of  Eastman  negative  film 
contributes  its  full  quota  of  high  quality 
and  unvarying  uniformity.  Eastman 
Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLUS-X  SUPER-XX 

for  general  studio  use  when  tittle  light  is  availuble 

BACKGROUND-X 

tor  haehgrounds  and  general  exterior  work 

EASTMAN  NEGATIVE  EILMS 


NoVEMbER,  l941 


25  CENTS 


SUPERIOR-I       SUPERIOR-2       SUPERIOR-3 


A     versatile     cinematographic     triumvirate 

Whatever  the  subject,  one  of  Du  Pont's  three  Superior 
negatives  more  than  likely  can  offer  just  the  right  com' 
bination  of  properties  needed  for  making  the  "take". 
These  films  afford  a  wide  choice  of  speed.  Each  for  its 
sensitivity  is  remarkably  fine  grained.  In  common  they 
possess  the  wide  latitude,  uniformity  and  capacity  for 
registering  shadow  detail  for  which  Du  Pont  negatives 
long  have  been  noted. 

Before  selecting  a  stock  for  your  next  production,  test 
Superior-i  (type  104)  for  a  film  of  medium  speed  with 
very  fine  grain  size;  Superior-2  (type  126)  for  an  unusally 
successful  combination  of  high  speed  with  fineness  of 
grain;  Superior-^  (type  127)  for  a  film  that  goes  "all-out" 
for  speed  without  sacrificing  too  much  of  the  other 
qualities  essential  for  practical  use. 

SMITH   6-   ALLER,   LTD.,   HOLLYWOOD,   CALIF. 


DUPONT    FILM    MANUFACTURING    CORPORATION,    NEW   YORK,  N.Y. 


International 
phoToqRAphER 

Vol.  XIII  November,  1941  No.  10 

LEADING  ARTICLES  IN  THIS  ISSUE 

The  Tin  Can  Squadron,  McGrath — Page  3 
Snapping  the  Stars,  Lester — Page  6 
Totems  of  Alaska,  Yolo — Page  12 
"Up-high,"  Kershner— Page  20 

PICTORIAL  FEATURES 

"Wilma,"  Mortensen— Page  2 

Tamara  Toumanova,  Longworth — Pages  4,  5 

"The  Fleet's  In,"  Lobben—  Pages  8,  9 

"Tombstone,"  MacKenzie — Page  10 

"Valley  of  the  Sun,"  Miehle— Page  11 

"They  Died  With  Their  Boots  On,"  Morgan— Pages  14,  15 

REGULAR  DEPARTMENTS 

Patents,  Fulwider — Page  18 

Tradewinds — Page  22 

16  mm  Department — Page  24 

Television — Page  26 

They  Say,  Rella— Page  28 


Editor,  Herbert  Aller 

Business  Manager,  Helen, .Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage  Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho 
tographers,  Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  0.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CAIOWEU 


Susan  Hayward,  currently  in  Cecil 
B.  De  Mille's  "Reap  the  Wild 
Wind,"  poses  before  the  camera 
of  Malcolm  Bulloch  to  show  that 
she    is    ready    for    Thanksgiving. 


for  SPEED  GRAPHIC 
OWNERS  only! 

SUPER 
SPEEDFLASH  SHOTS 

Are  Easy  With 

SISTOGUN! 

Here's  an  instrument  designed  by  news  pho- 
tographers especially  for  Super-Speedflash  Pho- 
tography— it's  the  Kalart  Sistogun.  Today — ace 
photographers  use  and  endorse  this  focal  plane 
Shutter  Synchronizer  for  3Vi  x  414  and  4x5 
Speed  Graphics. 

The  Kalart  Sistogun  is  a  compact,  precision 
instrument  which  really  completes  your  Speed 
Graphic.  It's  low  priced,  you  can  install  it  your- 
self. It  may  be  used  with  battery  cases  of  most 
synchronizers.  With  Sistogun  and  long-peak 
wire-filled  flash  bulbs,  you  can  get  action  shots 
even  at  1/1000  sec. 

See  the  Kalart  Sistogun.  Try  it.  You,  too,  will 
say  it  is  made  to  order  for  those  who  want  real 
action  FLASH  PICTURES— at  SUPER  SPEEDS ! 
Price  $12.00. 

THE  KALART  COMPANY  INC. 


Dept.    1-11 


619    TAFT    BLDC. 


HOLLYWOOD,   CALIF. 


KALART 


International  Photographer  for  November,  1941 


"WILMA" 


By  W  illiam  Mortensen 


The  TJN  CAN  SQUAdRON 


Bv  Warren  McGrath 


The  adventures  of  the  author  aboard  a  United  States  Destroyer 
during  the  filming  of  "American  Seapower"  for  Movietone  News, 
Ine.    Passed  by  United  States  Naval  Censor,  11th  Naval  District. 


'Sfunny  thing  about  that  Tin  Can  Squad- 
ron. They're  as  rough,  tough  and  salty  a 
bunch  of  sailors  as  you'll  find  anywhere 
on  the  Seven  Seas — but  to  a  man  thev  are 
specialists  in  the  art  of  being  a  streamlined, 
efficient  version  of  the  old  jolly  tar.  A  ver- 
sion, I  might  add,  that  is  so  necessary  in 
the  modern  warfare  of  "movement."  There 
is  also  a  lurking  suspicion  that  they  effect 
a  hearty  disdain  for  the  "battleship"  sailor. 
But,  as  for  myself,  I  believe  each  deserves 
a  great  amount  of  respect,  admiration  and 
gratitude  for  it's  a  "he-man's"  job  that 
Uncle  Sam's  Navy  is  doing  out  there  these 
days. 

F'rinstance  you  take  these  Tactical  Man- 
euvers. There  was  a  time  when  the  Navy 
would  take  a  pleasant  jaunt  each  spring- 
time and  accomplish  most  of  their  drilling 
for  the  year  in  the  short  space  of  some- 
thing less  than  two  months.  That's  now  in 
the  "I  remember  when"  stage.  Today,  our 
streamlined  defense  forces  are  constantly 
on  the  alert.  Sleek,  warpainted  men-of-war 
steam  out  of  their  harbors  under  the  veil 
of  the  strictest  secrecy  and  "Think,  but 
don't  talk"  has  become  the  watchword  of 
Naval  Intelligence. 

But  there  is  a  new  note  that  is  fast  be- 
coming part  of  our  defense  forces.  A  note 
that  is  as  modern  and  efficient  as  a  "panzer 
unit."  A  note  that  holds  promise  of  being 
as  deadly  as  a  Stuka,  for  peacetime  pho- 

The  Model 

A  pretty  face  and  a  pretty  figure  may 
suffice  to  make  people  look  twice  when  a 
girl  enters  the  room,  but  for  the  model, 
this  business  of  being  beautfiul  is  a  con- 
stant and  strenuous  routine. 

The  old  adage  of  "Early  to  bed —  "  was 
never  so  true  as  when  applied  to  a  model, 
and  abstinence  from  all  things  that  impair 
the  face  and  disintegrate  the  body  is  a 
never-to-be-broken  law.  Daily  exercise  of 
the  proper  sort,  care  of  the  hair  and  skin, 
constant  attention  to  posture,  carriage  and 
facial  expression,  all  are  vital  essentials  to 
the  physical  requisites  of  good  modeling. 

The  young  lady  on  the  opposite  page, 
who  is  being  groomed  by  the  Mortensen 
School  of  Photography,  finds  little  oppor- 
tunity during  her  active  day  for  outside  in- 
terests. Her  health  and  beauty  are  no  longer 
a  mere  matter  of  vanity,  but  her  fob — and 
a  hard  one. 

Compensation  for  the  rigid  self -discipline 
and  sacrifice  required,  is  the  ability  to  be 
part  of  a  creative  scheme — a  picture. 


tography  has  kept  step  with  all  of  the 
frantic  developments  of  destruction  that 
modern  warfare  has  unloosed.  Now,  when 
each  day  seems  more  tense  than  the  last, 
the  men  of  the  motion  picture  industry  are 
ready  to  throw  their  vast  knowledge  and 
experience  into  the  scales.  Who  can  fore- 
tell but  what  they  might  be  a  great  factor 
in  tipping  the  balance  in  our  favor? 

It  was  our  fortunate  assignment  to  join 
the  Navy  for  a  short  period  to  bring  back 
action  pictures  of  our  fleet  in  the  Pacific. 
I  might  add  that  when  the  time  came  to 
spend  a  week  on  a  destroyer,  I  wasn't  so 
sure  we  were  "fortunate."  We  seemed  to 
take  the  hard  way  as  it  was  blowing  up  to 
gale-like  proportions.  I  think  they  called 
it  a  45-knot  "breeze."  Our  problem  was  to 
transfer  from  the  security  of  a  first  line 
battleship  to  the  plunging  deck  of  one  of 
Uncle  Sam's  seagoin'  greyhounds.  The 
angry  foam-flecked  ocean  that  received  us 
as  we  lowered  away  from  the  ship's  side 
made  our  tiny  motor  whaleboat  bob  around 
like  a  cork.  I  remember  being  just  a  little 
resentful  of  the  smirks  that  greeted  me 
as  I  sprawled  on  the  deck  after  a  series 
of  kangaroo-like  leaps  up  the  ship's  ladder. 
The  enlisted  men  in  blue  denims  and  the 
officers  in  khaki  were  a  grim  and  efficient 
looking  bunch.  I  learned  later  that  a  finer, 
squarer,  more  "he-manish"  bunch  of  fel- 
lows could  never  be  found  on  God's  foot- 
stool. 

Well — we  got  a  break.  Imagine  finding 
a  nice  berth  waiting  each  of  us  on  ships 
noted  for  their  utilization  of  every  square 
inch  of  space.  True  we  could  not  room 
together  and  each  shared  a  room  with  one 
of  the  officers  but  that  proved  to  be  the 
least  of  our  troubles.  My  roommate  was  a 
swell  fellow — an  Ensign  just  completing 
his  second  year  out  of  the  Academy.  Let's 
call  him  "Skillet" — all  his  brother  officers 
did  since  they  pinned  the  name  on  him  at 
Annapolis.  He  didn't  even  embarrass  me 
by  asking  if  I  got  seasick  but  just  invited 
me  to  make  myself  comfortable.  I  pulled 
over  a  chair  and  sat  down  facing  the  port- 
hole on  the  'midships  side  of  the  cabin. 
The  inarticulate  cry  from  Skillet  came  too 
late.  It  seemed  as  if  a  giant  hand  just  lifted 
me  bodily  and  hurled  me  against  the 
"skin"  of  the  ship.  I  lifted  a  dazed  head  in 
impressive  silence  and  after  that  always 
sat  athwartships. 

Came  dinner  time.  I  confess  I  was  having 
just  the  slightest  doubt  about  the  condition 
of  my  stomach.  Maybe  it  was  that  second 
piece  of  apple  pie  I  had  on  the  battleship. 


Anyway  we  made  our  uncertain  way  to  the 
Officers'  Wardroom.  A  strange  sight  greeted 
me  as  I  surveyed  my  first  Destroyer  "Din- 
ner Table."  If  you've  ever  seen  table  racks 
you  can  appreciate  my  thoughts  as  I  saw 
the  neat  box-like  arrangement  that  se- 
curely anchors  each  plate  and  cup  in  place 
while  you  eat.  The  mess  boys  silently  wait 
for  you  to  be  seated  and  then  lash  you  in 
place.  It's  all  very  matter-of-fact  but  50  im- 
pressive. To  my  undying  credit  I  still  in- 
sist that  I  enjoyed  that  first  meal  and  had 
a  good  night's  sleep.  I  even  ate  a  whopping 
big  breakfast  the  next  morning  and  got 
readv  for  the  day's  work  with  keen  antici- 
pation. 

Our  maneuvers  were  scheduled  for  the 
afternoon  and  we  were  making  easy  head- 
way to  our  rendezvous  all  morning.  Green 
waves  were  ploughing  regularly  over  the 
bow  and  angry  white  caps  made  the  ocean 
seem  almost  white.  Luncheon  definitely  had 
lost  its  attraction  for  me  so  when  the 
familiar  "call  to  quarters"  sounded  I  was 
standing  by  ready  and  waiting.  It  was  use- 
less to  deny  the  fact  that  old  man  Mai  de 
Mr-re  had  at  last  claimed  me  for  his  vic- 
tim. Someone  had  kindly  donated  a  pail 
and  if  I  could  have  worn  it  around  my 
neck  I  possibly  could  have  paid  more  at- 
tention to  duty.  Our  speed  was  26-knots 
and  we  were  working  up  to  "x"  speed, 
which  was  top.  Seated  on  a  queer  bicycle- 
like seat  on  one  of  the  upper  platforms 
and  strapped  in  by  means  of  a  broad  web 
belt.  I  felt  for  all  the  world  like  a  cow- 
puncher  riding  a  bronco.  "X"  speed  now! 
The  wake  from  our  stern  was  six  feet  above 
the  deck  back  there.  Off  to  our  starboard 
bow  our  enemy  is  sighted  and  our  problem 
begins! ! 

We  were  leaping  out  of  the  water  now. 
The  wag  who  said  that  destroyers  "have  a 
motion  all  their  own"  never  spoke  truer 
words.  The  squadron  ahead  of  us  was 
smoke  screening.  Swell  stuff!  What  a  set- 
up! A  man-made  cloud  effect  just  for  us. 
We  were  turning  now  and  ploughing 
through  the  smoke  screen.  Our  cameras 
were  turning  too — grinding  out  hundreds 
of  feet  that  would  see  their  first  screening 
before  the  censoring  eyes  of  the  Naval 
Board  of  Review.  Officers  were  cooly  pass- 
ing out  their  necessary  orders  while  the  men 
wrere  at  their  "quarters,"  (stations)  alert, 
tense  but  calm  with  it  all.  Looking  them 
over  I  wanted  to  offer  a  silent  prayer  of 
thanks  that  the  safety  of  our  nation  is  en- 
trusted in  the  hands  of  men  like  these. 
(Continued  on  Page  16 1 


International  Photographer  for  November,  1941 


Tamara  Toumanova,  the  famous  ballet  danseuse,  in  gypsy  costume.  Born  in  a  snow- 
bound box  ear  near  Toumen,  Siberia,  during  the  Red  Revolution,  this  twenty-lwo  year 
old  girl  is  now  considered  by  ballet  critics  to  be  the  greatest  discovery  since  Anna 
Pavlowa. 


Tamara  Toumanova 


Tamara  Toumanova  made  her  debut  in 
motion  pictures  at  Warner  Bros.  Studios 
where,  with  Leonide  Massine,  Alexandra 
Danilova,  Milada  Mladova  and  other  bal- 
lel  slars,  the  famous  Ballet  Russe  de  Monte 
Carlo  company  productions  "Capriccio 
Espagnol"  ("Spanish  Fiesta")  and  "Gaite 
Parisienne"  ( "The  Gay  Parisienne"  ) ,  were 
filmed  in  Technicolor  under  the  direction 
of  Jean  Negulesco,  with  Ernest  Haller,  as 
director  of  cinematography. 

Although  only  22  years  of  age,  Touma- 
nova is  already  considered  by  ballet  critics 
to  be  the  greatest  discovery  since  Anna 
Pavlowa,  many  predicting  that  within  two 
years  she  will  have  surpassed  Pav Iowa's 
finesl  technique  as  a  ballerina. 

While  her  mother,  then  a  girl  of  17,  was 
fleeing  from  the  Red  Revolution,  Touma- 
nova was  born  in  a  box  car,  snowbound 
near  Toumen,  Siberia,  March  2,  1919. 
After  several  desperate  years  of  hunger  and 
privation,  they  were  able  to  secure  passage 
on  a  steamer  from  Shanghai  to  France,  fin- 
ally locating  in  Paris  where  Toumanova's 
father,  a  former  White  Russian  cavalry 
officer,  had  secured  a  position. 

Before  she  was  (>.    Toumanova   attracted 


much  attention  with  her  dancing  and  was 
offered  a  scholarship  at  the  exclusive  danc- 
ing school,  Academie  Michelet.  There  she 
came  to  the  attention  of  the  renowned  Olga 
Preobrajenska,  famous  ballerina  and  fav- 
orite of  the  Czar,  who  encouraged  the 
talented  child  to  study  art.  music  and 
drama,  but  above  all  to  specialize  in  ballet 
in  all  of  its  classical  forms.  The  great 
Preobrajenska.  then  the  "first  lady"  of  the 
ballet,  next  brought  little  Toumanova  to  the 
attention  of  Anna  Pavlowa,  who  immedi- 
ately insisted  on  Tamara's  appearance  with 
her  at  the  Trocadero.  The  child's  inspired 
dancing  was  the  sensation  of  Paris  and  of- 
fers poured  in  from  great  international 
booking  agencies.  Pavlowa,  however,  ad- 
vised her  to  decline  all  offers  and  continue 
studying,  promising  the  child  "some  day 
you  will  be  the  greatest  dancer  the  world 
has  ever  known!" 

At  the  insistence  of  a  powerful  French 
newspaper  syndicate,  Tamara  appeared  at 
a  series  of  performances  at  the  beautiful 
Pais  de  Bouillon,  Auteuil.  at  one  of  which 
Premiere  Poincare  and  other  Cabinet  min- 
isters arranged  for  her  to  appear  as  one  of 
the    featured    attractions   at    the    League    of 


Nations  conferences  at  Geneva.  The  great 
French  composer  Maurice  Ravel  compo-ed 
a  ballet  especially  for  Toumanova's  appear- 
ance. Costly  g'fts  were  presented  to  her 
and  she  was  acclaimed  throughout  the  cul- 
tural centers  of  the  Continent. 

Returning  to  Paris,  she  appeared  at  the 
Paris  Opera  at  the  request  of  the  French 
Government,  remaining  for  two  years  as 
the  show-stopper  at  each  performance. 
Toumanova  was  the  first  ballerina  ever  re- 
called for  encores  by  the  audiences  during 
the  Opera  season. 

When  she  was  12,  Col.  W.  de  Basil  or- 
ganized a  new  ballet  troupe  with  George 
Balanchine  as  director  and  Toumanova  as 
the  star.  Balanchine  created  spe?ial  ballets 
for  her  and  after  a  record-breaking  tour 
of  the  Continent,  they  went  to  England 
where  Toumanova  was  received  with  great 
ovations  at  each  performance  and  at  the 
invitation  of  Her  Majestv.  gave  command 
performances  for  the  King  and  Queen  of 
England  and  the  Duke  of  York,  the  present 
King. 

Toumanova  apeared  in  Amercia  for  the 
first  time  in  1933  while  on  a  world  tour 
(Continued  on  page  17) 


Stills  by  Bert   (Buddy)   Longworth,  Warner  Bros. 


Tcrnara  Toumanova  in  "The  Gav  Parisian, "  Warner  Bros.  Technieolor  Featuret  starring 
the   Ballet   Russe   de   Monte   Carlo. 


International  Photographer  for  November,  1941 


SNAppJNQ  ThE  STARS 


By  Gene  Lester 


The  fan  magazine  photographer  who  hobnobs  with  the  stars  as  they 
dine  and  play  must   produce  pictures  that   have  real  story  value 


Arthur    ("Dagwood'")   Lake  and  Gene  Lester 

"What  a  snap  you  guys've  got.  I'd  like 
to  be  in  your  shoes!"  was  the  comment  an 
onlooker  made  to  me  at  Grauman's  Chinese 
Theatre  the  night  of  the  premiere  of  "Yank 
in  the  R.  A.  F."  Apparently  this  remark 
was  brought  about  by  the  intimate  manner 
in  which  we  fan  magazine  photographers 
were  associating  with- the  stars  who  stood 
in  the  forecourt  posing  for  us. 

There  were,  among  others,  Tyrone  Power 
with  his  beautiful  wife,  Annabella,  the 
Henry  Fondas,  the  Pat  O'Briens,  Ann 
Rutherford  and  Bob  Stack.  While  thous- 
ands of  autograph  seekers  were  jamming 
the  ropes  to  get  at  least  a  fast  glimpse  of 
their  favorite  players  the  photographers 
were  shooting  them  and  chatting  with  them 
on  very  friendly  terms. 

Granted,  the  job  of  a  Hollywood  pho- 
tographer is  a  fascinating  one.  He  does 
know  most  of  the  players  personally;  he 
hobnobs  with  them  whenever  possible;  he 
visits  their  homes,  takes  trips  with  them, 
goes  to  their  parties  and  follows  them  to 
ni^ht  (liihs.  I  o  almost  every  amateur  pho- 
tographer, his  job  is  most  enviable;  but  to 
the  photographer  himself  it  is  reallv  a  job. 

A  few  years  ago,  because  of  very  little 
competition  in  the  fan  magazine  field,  the 
photographer  would  shoot  any  picture  of  a 
star,  regardless  of  its  story  value.  Today, 
with  the  average  reader  educated  to  the 
value  ol  candid  photography,  since  the  in- 
ception of  Life,  Click,  Look,  etc.,  and  with 
the   increasing   number    of    fan    magazines 


available,  the  photographer  must  be  on  his 
toes. 

A  picture  of  Robert  Taylor  and  Barbara 
Stanwyck  sitting  at  a  night  club  table 
looking  at  each  other,  means  nothing. 
They  must  be  doing  something  candid, 
obviously  unaware  that  their  picture  is 
being  taken.  The  picture  must  have  story 
value  and  not  just  be  "the  Robert  Taylors 
at  Ciro's." 

The  studios  try  to  help  the  fan  maga- 
zine photographer  as  much  as  possible. 
They  invite  us  on  to  the  set — prepare 
special  location  trips — fly  us  to  such  far 
away  points  as  the  Grand  Canyon,  Salt 
Lake  City,  Death  Valley  and  New  Mexico. 
This  establishes  a  new  locale  and  provides 
the  fan  magazines  with  material  they  ordi- 
narily could  never  get  in  and  around 
Hollywood. 

Warner  Bros.,  especially  should  be  con- 
gratulated on  their  trip  ideas.  For  the 
world  premiere  of  many  of  their  'A'  pic- 
tures they  send  special  trains  bulging  with 
movie  players  half-way  across  the  Lnited 
States  to  wherever  the  story  of  that  par- 
ticular picture  might  be  centered. 

These  trips  constitute  a  field  day  for  the 
Hollvwood  photographer.  On  what  might 
be  very  easily  classed  as  a  four  or  five  day 
vacation,  he  shoots  from  200  to  500  nega- 
tives. Most  of  the  Hollywood  photogra- 
phers carry  two  or  three  cameras  on  these 
trips.  The  Speed  Graphic  is  used  for  most 
of  the  key  pictures  but  these  are  supple- 
mented with  negatives  made  on  either  the 
Rolleiflex  or  Contax,  or  both.  I  always 
carry  three  cameras  and  find  that  many  of 
my  best  negatives  come  from  the  miniature 
size  film 

It  is  upon  our  return  to  Hollywood  that 
our  work  really  starts,  for  these  negatives 
must  all  be  developed,  printed,  edited  and 
captioned  then  air-expressed  to  New  York, 
all  on  the  same  day.  Immediately  after  the 
pleasant  but  tiring  trip  and  its  ensuing 
darkroom  work,  we  start  on  our  nightly 
rounds  of  the  clubs  which  keep  us  up 
four  or  five  nights  a  week  until  2  or  3  a.m. 
You  will  gather  from  the  preceding  par- 
agraphs that  the  Hollywood  photographer 
must  be  a  master  of  all  types  of  cameras. 
This  is  imperative  and  it  must  be  to  the 
point  where  handling  the  equipment  has 
become  second  nature  so  that  you  do  not 
convey  the  idea  to  the  stars  that  you  have 
to  set  up  cameras  and  lights,  or  go  to  a  lot 
of  trouble  in  getting  the  picture.  The  stars 
will  gladly  cooperate  but  posing  as  often 
as  they  do,  they  want  the  pictures  taken 
quickly  and  with  a  minimum  of  bother  to 
them.    Here   again    I    have   found    it   advis- 


able to  use  the  miniature  camera  wherever 
possible. 

Shooting  rapid  fire  on  the  Contax  I 
might  make  36  exposures  of,  let's  say, 
Barbara  Stanwyck  doing  her  hot  dance  se- 
quences in  "Ball  of  Fire."  Naturally  they 
cannot  all  be  used  but  I  do  select  the  eight 
or  ten  best  frames  and  enlarge  them.  My 
editor  in  New  York  selects  the  best  one 
and  that  is  the  final  picture  which  appears 
in  Silver  Screen. 

Another  example  of  "second  nature" 
photography  occurred  during  the  shooting 
of  "Boom  Town."  Spencer  Tracy  and  Clark 
Gable  had  to  fall  face  first  into  thick, 
gooey  mud.  For  an  hour  before  the  shoot- 
ing, workmen  were  digging  up  the  dirt  with 
plows  on  the  back  lot  at  Metro,  men  with 
hoses  were  undermining  it  with  water  as 
others  with  huge  rakes  were  concocting  the 
mixture  that  would  grace  the  physiognom- 
ies of  Metro's  top-ranking  stars. 

There  would  be  only  one  'take.'  No  re- 
hearsals, no  retakes,  just  flop.  Although  it 
was  a  sunny  day,  scrims  were  used  to  kill 
the  bright  sunlight  and  give  the  set  the 
appearance  of  a  dull  wintry  day.  The  sur- 
rounding areas  were  bathed  in  beautiful 
California  sunshine,  yet  this  one  area  had 
the  bleak  appearance  of  a  dismal,  rainy 
day.  It  was  even  difficult  to  judge  expos- 
ures. And  then  it  happened.  The  resulting 
picture  was  a  full  page  blow-up. 

And  so,  on  through  hundreds  of  assign- 
ments to  meet  the  requirements  of  one  of 
the  top-flight  fan  magazines  like  Silver 
Screen,  whether  it  be  Bette  Davis's  highly 
publicized  pratt  fall  into  the  cactus  of 
Death  Valley,  Jane  Russell's  movie  debut 
in  the  heart  of  the  Arizona  Indian  reserva- 
tion, the  sea  voyage  aboard  the  S.  S. 
America  for  the  premiere  of  Warner 
Brothers  "Sea  Wolf,*'  or  even  the  average 
assignments  in  Hollywood  we  must  always 
be  certain  to  'GET  THAT  PICTURE!' 

There  is  not  one  of  us  who  will  not 
claim  that  he  has  the  most  fascinating  pho- 
tographic job  imaginable.  Where  else  could 
a  cameraman  hobnob  with  such  people  as 
Lana  Turner,  Rita  Hayworth,  Bettv  Grable, 
etc.  It  can  safely  be  said  that  the  dream 
of  every  photographer  is  to  photograph 
and    know   the   movie   stars. 

But — on  the  other  side  of  the  scales — 
counteracting  the  fascination  and  glamour, 
are  the  late  working  hours,  irregular  eating 
habits  and  almost  complete  lack  of  social 
life.  These  tend  to  stress  the  fact  that  fan 
magazine  photography  IS  a  job. 

Once  again  referring  to  the  remark  made 
in  the  forecourt  of  Grauman's  Chinese  The- 
ater .  .  .  the  "shoes"  are  enviable,  but  the 
"snap"  is  only  in  the  camera. 


Fan  Magazine  Photography 


By  Gene  Lester 


Starting  top,  left  to  right:  The  Dick  Powells  at  home;  Marlene  Dietrich  plays  baseball 
with  George  Raft  on  location  for  "Manpower";  Betty  Grabe  takes  a  sun  bath;  Dick 
Powell  and  Joan  Blondell  at  a  Sunset  Boulevard  drive-in  restaurant  at  3  A.M.;  Marlene 
Dietrich  and  Gene  Lester;  Fred  MacMurray  and  Carole  Lombard  at  a  radio  rehearsal 
for  the  Gulf  Screen  Guild  Theatre  (this  must  be  covered  every  Sunday  which  is  a  work 
day  just  like  any  other  with   the  movie  magazine  photographer). 


International  Photographer  for  November,  1941 


'The  Fleet's  In,"  Paramount  Production 


It's  a  hilarious  hatile  b«'tw«'«'ii  a  Shakespeare-reading  sailor 
who  suddenly  funis  himself  the  lady-killingest  man  in  the 
fleet   and    the   girl   singer   who   never   has    been   kissed. 


8 


Stills  by  C.  Kenneth  Lubben 


Dorothy  Lamour  tops  the  list  of  feminine  entertainers,  with 
Betty  Hutton  and  Cass  Daly  on  hand,  while  Bill  Holden, 
Eddie  Bracken,  Leif  Erikson  and  Gil  Lamb  don  navy  uni- 
forms. 


International  Photographer  for  November,  1941 


"Tombstone,"  Paramount  Production 


Stills  by  Don  MacKenzie 


vTrolj 

itf'vC 

*      1  if   <  J  i 

.         '      ,1 

^^BHF 

■  M 

■Mj^WSF.  ^J      .-•?>f;V 

> 

Promising  lo  be  one  of  Producer  Harry  Sherman's  biggest  outdoor  spectacles,  ""Tombstone"  is  the  excit- 
ing story  of  a  frontier  marshal  who  employed  his  fists  instead  of  guns  to  eliminate  undemocratic  prac- 
tice-.. Itehind  the  camera  in  upper  left  is  Kussell  Har'an  and  with  him  are  (iuy  Bennett,  Earl  Stafford 
and  Junius  Stout.  Harlan  has  been  filming  these  Westerns  for  seven  or  eight  years.  Before  the  camera 
are  Richard   Dix,  Frances  Clifford  and   Edgar   Buchanan. 


10 


In  Milady's  Boudoir 


By  John  Miehle 


Lucille   Ball   assisted    by    Fern    Emmett    in   dressing    for   her   wedding   dav    in    this   scene 
from  RKO  Radio's  "Valley  of  the  Sun." 


International  Photographer  for  November,  1941 


11 


TOTEMS  Of  AUsliA 


A  few  hours  after  arriving  at  Ketchikan, 
August  4th,  on  the  SS.  Yukon  we  sailed 
for  the  West  Coast  of  Southern  Alaska  to 
make  color  motion  pictures  of  Alaska 
natives,  deserted  Indian  villages  and  tribal 
and  family  totems  of  the  various  Alaska 
Indian  tribes.  Any  little  bay,  cove  or  In- 
dian or  fishing  village  is  home  as  we 
cruise  among  the  many  islands  and  num- 
erous waterways  of  the  Alaska  coast, 
aboard  the  '"Ranger  Nine." 

Having  spent  the  summers  of  '37  and  '38 
making  motion  pictures  of  Alaska  scenery 
and  glaciers  and  Alaska  big  game  there 
was   some   doubt   that   totems   would   hold 


much  interest.  Our  cruise  of  the  past  ten 
days  is  convincing,  however,  that  the  as- 
signment to  cover  the  totem  story  will  be 
the  most  fascinating  of  them  all. 

Beyond  the  boundaries  of  Alaska  Terri- 
tory few  know  that  the  first  statue  of  Abra- 
ham Lincoln  was  carved  by  the  native 
Alaska  Indians  .  .  .  the  Abraham  Lincoln 
totem  now  located  at  Saxman,  near  Ketch- 
ikan. Slave  traffic  once  flourished  among 
the  Indian  tribes  of  Alaska.  About  the 
time  of  the  freeing  of  the  negro  slaves,  the 
Indians  of  Southeast  Alaska  also  set  free 
their  slaves.  In  commemoration  a  totem 
was  carved,  the  surmounting  figure  being 


By  Joseph  Yolo 

that  of  Abraham  Lincoln,  dressed  in  top 
hat  and  frock  coat.  The  Indians  had  be- 
come acquainted  with  Abraham  Lincoln 
through  information  brought  them  by  the 
early  traders. 

Totems  are  not  objects  of  worship  by  the 
members  of  the  various  Alaska  Indian 
tribes.  They  are  recordings  of  tribal  and 
family  history,  and  are  also  used  as  mark- 
ers for  the  graves  of  the  departed. 

Before  Alaska  became  a  possession  of 
the  United  States  no  native  who  was 
"Somebody"  erected  a  totem  without  first 
placing  in  the  excavation  a  tightly  bound, 
living   slave.    If   the   tribesman   were   one 


The  New  Howkan  Eagle  at  Hydaburg,  Alaska.     Standing  beside  it  is  John  Wallace,  the 
Indian  mentioned  in  the  text,  with  Joseph  Yolo  behind  camera  "shooting"  in  Cinecolor. 


12 


of  wealth  or  influence  he  could  afford  to 
sacrifice  several  slaves  in  his  totem  dedica- 
tion ceremonies. 

Until  recently,  totem  carving  was  fast  be- 
coming a  lost  art,  the  younger  generation 
of  the  Alaska  natives  having  followed  the 
ways  of  the  white  man.  Hundreds  of  totems 
throughout  Southeast  Alaska  were  fallng 
into  decay  in  the  deserted  Indian  villages. 
A  unique  culture  and  the  family  and  tribal 
historical  records  were  about  to  go  out  of 
existence. 

In  1938  the  Alaska  Forest  Service,  under 
direction  of  B.  F.  Heintzleman,  Regional 
Forester,  added  totem  restoration  to  its 
list  of  numerous  activities,  and  made  this 
work  a  CCC  project.  Today  many  native 
enrolees  are  learning  totem  carving,  taught 
by  the  few  surviving  experienced  carvers, 
some  of  whom  are  nearing  the  century 
mark  in  age. 

When  the  Forest  Service  totem  restora- 
tion project  is  completed,  most  of  the  to- 
tems in  Southeast  Alaska  will  have  been 
restored  or  exact  replicas  made  of  those 
beyond  repair.  Not  only  is  the  Alaska 
Forest  Service  reviving  the  almost  lost  art 
of  totem  carving,  but  more  important,  it  is 
preserving  for  all  time  the  history  of  the 
Alaska  Indian. 

A  number  of  totem  parks  located  in  vari- 
ous Indian  villages  and  towns  throughout 
Southeast  Alaska  have  already  been  estab- 
lished. At  Hydaburg  the  totem  park  con- 
tains twenty-two  splendid  totems  of  the 
Haida  tribe  .  .  .  the  most  striking  one  being 
the  New  Howkan  Eagle.  This  masterpiece 
is  the  creation  of  John  Wallace,  a  full- 
blood  Haida  tribesman,  over  eighty  years 
of  age. 

On  our  cruise  we  visited  Old  Howkan, 
a  deserted  Indian  village,  not  far  from 
Hydaburg.  On  Howkan's  rocky  beach  still 
sits  the  Old  Howkan  Eagle,  carved  from 
Alaska  Cedar  over  a  century  ago.  His  head 
is  adorned  with  a  living  salmon-berry 
bush,  and  with  gleaming  eye  he  eternally 
watches  the  sea  upon  which  the  last  of  the 
Howkan  Haida  tribesmen  sailed  away  al- 
most a  half  century  ago  .  .  .  never  to  re- 
turn. Nearby,  almost  hidden  in  the  dense 
underbrush,  are  the  corner  posts  and  roof 
beams  of  the  tribal  community  house. 

Once  the  home  of  over  three  hundred 
members  of  the  war- like  Haida  tribe,  who 
paddled  their  war  canoes  as  far  south  as 
California,  Howkan  Village  today  is  a  pic- 
ture of  utter  desoltion  ...  as  silent  and 
lifeless  as  the  empty  Haida  grave  still 
faithfully  guarded  by  a  storm  scarred  grave 
totem  .  .  .  Old  Howkan  Eagle's  only  com- 
panion. 

More  Bicycles  Than  Ever 

According  to  the  figures  of  the  United 
States  Department  of  Commerce,  produc- 
tion of  bicycles  in  1899  amounted  to  1,- 
182,691;  in  1929  it  dropped  to  307,845, 
while  in  1939  the  figures  jumped  to  1,252,- 
029. 


The  Ace  Cameraman 


The  MITCHELL  CAMERA  -  - 


Both  leaders  in  the  industry 


By  their  ability 


To  produce  -  - 


MITCHELL  CAMERA 
CORPORATION 

665  NORTH  ROBERTSON  BLVD. 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address      MITCAMCO'  Phone  CR.  6-1051 

AGENCIES: 
Bell  &  Howell,  Ltd.,  London,  England  Motion  Picture  Camera  Supply  Co., 

Claud    C.     Carter,     Sydney,     Australia  FazalbhoyXd^Sbay.  India 

D.   Nagase  &  Co.,   Ltd.,  Osaka,   Japan  H.    Nassibian,    Cairo,    Egypt 


International  Photographer  for  November,  1941 


13 


!V        •        *'*" 

-J 

L      Jin 

•• jf 

"S.  ** 

4               *rf- 

*> 

^ 

k  4 

^^K'     «^ 

^y         Pi?4 

Ki3kr 

L.^          "*Vl!""*'l 

v"Mi      HbB^^^ 

f^fli<  ••■ 

IMK  "                       -   ' 

^BR      *'^^B,^^P^»            1 

■Jflfe^ft'"'' 

Httgl  '  V»Ti 

?1  K  *-  ^fflMd£-^-''r''~_, 3^ 

w  -            ■**■ 

*"**% 

pagm^-  'J*+~---n~  'Jl1'! 

Stills  by  Fred  Morgan 


"ihey  died  wiii 


"They  Died  With  Their  Boots  On"  is  the 
screen  story  of  the  life  of  one  of  America's 
most  unusual  military  figures  from  the 
time,  1857,  he  entered  West  Point  until  he 
died,  magnificently  and  foolishly,  at  the 
Little  Big  Horn  in  Montana,  June  25, 
1876. 

It  is  the  story  of  George  Armstrong  Cus- 
ter, presented  by  Warner  Bros.,  directed 
by  Rauol  Walsh,  co-starring  Errol  Flynn 
and  Olivia  de  Havilland.  The  picture  was 
1 2  weeks,  or  three  months,  before  the  cam- 
eras, which  were  in  charge  of  Bert  Glennon. 

Sixteen  Sioux  Indians  from  the  Standing 
Rock  agency,  Fort  Yates,  North  Dakota, 
were  imported  by  Warner  Bros,  to  appear 
in  the  film.  Twelve  of  these  men  had  never 
been  off  their  reservation  before,  and  their 


experiences  as  Ho 
they  will  talk  abo 

Two  of  these  ml 
Voice,    were   greai 
Bull,  the  great  Sii 
rallied   the   tribes i 
invaders  when  th 
violated  after  ru 
1876.    Other  Indhj 
Francis   Flying  C 
were  Fast  Horse, 
Shooter,   Brave,   F 
Village  Center,  W 
Holy  Bear,  Penimi 

Battle  scenes,  b< 
of  the  Indian   Wa 
command   of  the 
Fort  Lincoln,  have 


14 


J*  *t** 


(4  9*\ 


U     * 


ht!R   booTS  on" 


actors  were  ones 
list  of  their  lives. 
a  Eagle  and  Elk 
ions  of  Sitting 
licine  man  who 
Isacre  the  white 
Hills  treaty  was 
fi  gold  strike  in 
Ide  band,  led  by 
trlisle  graduate, 
Ion,  Hairy  Chin, 
|r,  Prairie  Dog, 
|bld,  Crazy  Bear, 
i  Chasing  Hawk. 
pe  Civil  War  and 
Custer  was  in 
\  7th  Cavalry  at 
t  .veep.  action  and 


excitement  than  any  similar  scenes  done 
before.  One  thousand  horsemen  appear  in 
many  of  them.  To  obtain  these,  Warner 
Bros,  had  to  tie  up  Southern  California's 
entire  supply  of  rental  horses,  and  augment 
these  with  mounts  from  private  stables 
from  everywhere  within  a  50-mile  radius 
of  the  studio. 

Four  separate  locations  were  used  in 
addition  to  some  50  sets  on  the  studio 
stages.  The  company,  according  to  trans- 
portation department  records,  travelled 
nearly  1,200  miles  getting  to  and  from  the 
various  scenes  of  action. 

A  60-foot  camera  tower  of  welded  tub- 
ular steel  was  built  from  which  to  photo- 
graph the  Little  Big  Horn  battle.  Eight  cam- 
eras caught  the  action.  A  replica  of  Fort 


International  Photographer  for  November,  1941 


15 


Lincoln,  enclosed  in  a  stockade  covering 
five  acres,  was  built  from  early  photo- 
graphs and  used  for  less  than  a  reel  of  the 
picture. 

Almost  as  much  as  was  spent  for  this 
huge  set  was  expended  on  Olivia  de  Havil- 
land's  wardrobe:  15  changes  of  gown,  done 
of  the  most  costly  fabrics  in  the  lush  fash- 
ions of  the  1870's.  For  Beth  Custer  was  a 
fashion  leader  of  her  day,  even  in  the 
"wild"  west  with  her  soldier-husband. 

One  of  Hollywood's  largest  dry-cleaning 
establishments  went  on  a  night  shift  basis 


during  the  time  the  major  battle  scenes  for 
"They  Died  With  Their  Boots  On"  were 
being  filmed.  Often  as  many  as  1,200  uni- 
forms, torn  and  dusty  after  a  day's  work, 
had  to  be  cleaned,  mended,  and  made 
ready  for  6:00  the  next  morning,  when  the 
rider-extras  started  parading  through  the 
studio  gates. 

Makeup  department  workers  had  to 
clean  and  renovate  500  to  600  long  black 
wigs  each  night  after  the  Indians,  real  and 
synthetic,  had  finished  their  day.  It  was  an 
all-night  job. 

The  picture  sweeps  through  19  years  of 


Custer's  life,  covers  much  territory.  Start- 
ing with  West  Point,  it  moves  to  Washing- 
ton, Bull  Run,  Gettysburg,  Monroe,  Mich- 
igan, back  to  Washington,  to  Fort  Lincoln, 
then  to  the  Little  Big  Horn. 

All  of  Hollywood's  stunt  men  worked 
throughout  the  battle  scenes,  some  of  them 
earning  as  much  as  $250  a  day  for  spec- 
tacular falls  from  galloping  horses.  High- 
est paid  were  the  riders  of  their  own  horses 
who  had  trained  their  mounts  to  fall,  play 
dead  as  though  shot.  As  a  contrast  to  the 
riders,  not  one  animal  was  so  much  as 
scratched  all  during  the  hectic  production. 


TIN  CAN 

SQUAdRON 

(Continued  from  page  3) 

But  there's  the  enemy  fleet.  We  were  be- 
ing attacked  by  their  air  force  and  our  AA 
battery  was  hard  at  work.  More  swell  shots! 
It  was  like  a  three  ringed  circus.  A  sharp 
command  can  be  heard  now  and  swiftly  the 
torpedo  tubes  swing  out  to  firing  position. 
Another  signal  is  given  and  swish  —  the 
"tin  fish"  are  off  to  accomplish  their  deadly 
mission.  These  are  practice  "fish"  and  lack 
the  means  to  blow  a  ship  out  of  water. 
Their  accuracy,  however,  is  unimpaired  by 
the  absence  of  the  "business"  part.  The 
battleships  seem  awfully  big  now.  We  can 


see  their  secondary  battery  pumping  away 
at  us.  The  thought  didn't  occur  to  me  then 
that  I  should  be  very  thankful  it  wasn't 
"live"  ammunition  they  were  using.  It  has 
many  times,  since. 

Another  few  minutes  and  our  terrific 
speed  had  carried  us  beyond  the  line  of 
fire  of  the  "enemy"  fleet.  Our  problem  for 
the  day  was  over  and  it  was  up  to  the  um- 
pires to  tell  us  which  side  was  victorious. 
Thus  another  Tactical  Maneuver  is  com- 
pleted, although  to  our  modern  Navy  it 
was  just  another  day's  work — just  another 
day  of  practicing  for  the  day  "when."  For 
us  it  was  a  day  of  thrilling  pictures.  Our 
cameramen  aboard  one  of  the  big  battle- 
ships had  filmed  the  maneuvers  from  the 
"defense"  angle  and  we  had  some  shots  to 
delight  the  editor's  heart. 

But  our  work  with  the  destroyer  squad- 
ron  was   not   yet    finished.    I    learned   that 


Uncle  Sam's  taxpayers  are  well  protected 
even  in  times  of  National  Emergency. 
Everyone  of  these  precious  torpedoes  must 
be  rescued,  overhauled  and  made  ready  for 
the  time  when  future  occasion  may  require 
them.  And  so  for  many  a  weary  hour  we 
cruised  back  and  forth  over  a  pre-deter- 
mined  area  scanning  the  bleak  waters  for 
our  "tin  fishes."  It  was  a  monotonous  back- 
breaking  job  requiring  many  small  boat 
launchings  and  precarious  trips  over  a 
bouncing  ocean  to  recover  them. 

Through  the  slick  of  an  ocean  suddenly 
turned  tranquil,  we  of  the  Destroyer 
Squadron  sailed  homeward.  That  region  of 
my  body  adjacent  to  the  belt  line  had  sub- 
sided with  the  angry  waves  and  was  now 
setting  up  a  clamor  for  food.  A  most  wel- 
come sign  to  one  who  has  been  seasick. 
At  the  table  that  night  the  chair  lashing 
was  dispensed  with  although  the  table  racks 


DESTROYER  -  US   S.     CUSHING 


16 


were  kept  in  place  just  in  case.  It  was  a 
grand  evening.  Skillet  entertained  with 
some  clever  cartoons — others  of  the  ward- 
room mess  were  equally  jolly.  Then  all 
went  below  to  see  a  movie — and  don't  for- 
get the  round-robin  of  'rolling'  to  see  who 
pays  for  the  cokes.  Just  a  group  of  swell 
fellows  with  a  job  to  do — who  get  a 
great  kick  out  of  doing  it  RIGHT.  Then  an 
hour  or  so  of  soft  serious  discussion  in 
the  utter  darkness  of  the  topside  and  you 
suddenly  realize  that  you're  powerfully 
sleepy.  You  stumble  below  scarcely  con- 
scious that  four  bells  is  sounding  in  your 
ears.  Four  bells  did  I  say? — that's  Ten 
O'Clock,  Mister  Landlubber! 


Glenn  L.  Dimmick  of  RCA 
Honored  by  S.M.P.E. 

Glenn  L.  Dimmick,  sound  engineering 
expert  at  the  RCA  Laboratories,  received 
the  Progress  Medal  of  the  Society  of  Mo- 
tion Picture  Engineers  in  recognition  of  his 
outstanding  contributions  to  the  advance- 
ment of  the  motion  picture  art.  Mr.  Dim- 
mick is  the  second  RCA  research  engineer 
to  be  so  honored,  and  follows  Walt  Disney 
on  the  Society's  roll  of  medalists.  Dr.  E.  W. 
Kellogg,  of  the  RCA  Laboratories,  received 
the  honor  in  1936. 

The  presentation  was  made  by  Emery 
Huse,  President  of  the  Society,  at  the  50th 
Semi-Annual  Banquet  and  Dance  which 
marked  the  high  point  of  the  four-day  con- 
vention which  concluded  October  13. 


TOUMANOVA 

(Continued  from  page  4) 

which  returned  her  again  to  England, 
France,  Monaco  and  Spain.  In  1937  she 
returned  to  the  United  States  for  a  leading 
role  in  the  stage  production,  "Stars  In 
Your  Eyes,"  with  Ethel  Merman  and 
Jimmy  Durante.  Rejoining  the  de  Basil 
ballet,  she  went  to  Australia  for  a  year's 
engagement  following  which  she  again 
came  to  the  United  States,  having  deter- 
mined to  become  an  American  citizen  and 
make  her  home  here. 

She  joined  the  Ballet  Russe  de  Monte 
Carlo  for  its  1941-42  tour  of  the  United 
States  and  Canada.  Following  her  appear- 
ance before  Warner  Bros.'  cameras,  Tou- 
manova  is  at  present  starring  with  the 
Ballet  Russe  de  Monte  Carlo  in  New  York 
City  for  the  season  at  the  Metropolitan 
Opera  House.  The  troupe  is  scheduled  to 
return  to  Hollywood  in  January,  at  which 
time  Warner  Bros,  plans  to  produce  addi- 
tional Technicolor  films  with  this  troupe. 
"Blue  Danube"  and  "Prince  Igor"  are 
scheduled  as  their  next  motion  picture  pro- 
ductions and  in  both  of  these  Toumanova 
will  appear  in  featured  roles. 


UNITED  STATES  CIVIL  SERVICE  EXAMINATIONS 

Head  Photographer,  $2,600  a  year 

Senior  Photographer,  $2,000  a  year 

Assistant  Photographer,  $1,620  a  year 

Under  Photographer,  $1,260  a  year 

Optional  Branches 

1.  Dry-Plate  Photography 

2.  Wet-Plate  Photography 

Applications  will  be  rated  as  soon  as  practicable  after  receipt  at  the  Washington 
office  of  the  United  States  Civil  Service  Commission  until  June  30,  1942,  and  certifi- 
cation made  as  the  needs  of  the  service  require.  If  sufficient  eligibles  are  obtained, 
the  receipt  of  applications  may  be  closed  before  this  date,  in  which  case  due  notice 
will  be  given. 

NO  WRITTEN  EXAMINATION  is  required.  Applicants  will  be  rated  on  the  length  and 
quality  of  their  experience.  Your  application  must  include  a  complete  and  detailed  description 
of  your  photographic  experience. 

The  Commission  especially  desires  applications  from!  photographers  with  experience  in  the 
following  types  of  photography: — Wet  Plate  Photography,  Process  Photography,  Photographic 
Mapping,  General   Commercial  Photography. 

The  United  States  Civil  Service  Commission  announces  open  competitive  examinations  for 
the  positions  named  above.  Vacancies  in  these  positions  in  Washington,  D.  C,  and  in  the  field, 
and  vacancies  in  positions  requiring  similar  qualifications  will  be  filled  from  these  examina- 
tions, unless  it  is  found  in  the  interest  of  the  service  to  fill  any  vacancy  by  reinstatement, 
transfer,  or  promotion.  The  salaries  above  are  subject  to  a  deduction  of  3%  percent  toward  a 
retirement  annuity. 

Employment  lists. — Separate  lists  of  eligibles  will  be  established  in  the  optional  branches 
indicated  for  each  of  the  positions  named  above.  These  lists  will  be  further  subdivided  accord- 
ing to  the  specialized  experience  shown  by  the  applicants. 

Positions  of  Junior  Photographer  at  $1,440  a  year  will  be  filled  from  the  register  of  Assist- 
ant Photographer  by  certification  of  the  names  of  appropriate  eligibles  who  express  willingness 
to  accept  this  salary.  Positions  of  Photographer  at  $1,800  a  year  will  be  filled  from  the  register 
of  Senior  Photographer  by  certification  of  the  names  of  appropriate  eligibles  who  express  will- 
ingness to  accept  this  salary.  Positions  of  Principal  Photographer  at  $2,300  a  year  will  be  filled 
from  the  register  of  Head  Photographer  by  certification  of  the  names  of  appropriate  eligibles 
who  express  willingness  to  accept  this  salary. 

Assignment  of  grade. — Applicants  for  the  higher  grades  who  are  found  not  qualified 
therefor  will  be  considered  for  the  appropriate  lower  grades.  Persons  who  are  found  eligible 
for  the  higher  grades  will  also  be  rated  for  the  appropriate  lower  grades  if  they  have  expressed 
a  willingness  to  accept  the  lower  salaries. 

Applicants  should  indicate  in  their  applications  the  lowest  salary  they  are  willing  to  accept. 

Duties. — To  perform  any  of  the  various  operations  involved  in   taking,  developing,  and 

printing  photographs;  in  the  higher  grades  to  have  the  responsibility  for  the  supervision  of  a 

photographic  laboratory  and  the  instruction  of  other  photographers.  The  amount  of  responsibility 

and  the  degree  of  complexity  of  the  duties  will  vary  with   the  grade  of  the  position. 

Basis  of  ratings. — Competitors  will  not  be  required  to  report  for  examination  at  any 
place,  but  will  be  rated  on  the  extent  and  quality  of  their  experience,  relevant  to  the  duties  of 
the  position  applied  for.  and  on  their  fitness,  on  a  scale  of  100,  such  ratings  being  based  upon 
competitors'  sworn  statements  in  their  applications  and  upon  corroborative  evidence. 

Statements  concerning  qualifications  will  be  verified  by  the  Commission;  exag- 
geration or  misstatement  will   be   cause   for   disqualification. 

APPLICANTS   MUST   POSSESS   THE    FOLLOWING    QUALIFICATIONS 

1.  They  must  be  citizens  of  the  United  States  on  the  date  of  receipt  of  application.  For- 
eign-born applicants  who  meet  the  citizenship  requirements  must  furnish  proof  of  United 
States  citizenship  before  they  will  be  eligible  for  appointment  under  civil-service  rules. 

2.  For  positions  in  the  apportioned  service  at  Washington,  D.  C,  they  must  show  legal  or 
voting  residence  in  the  State  or  Territory  claimed  for  at  least  1  year  next  preceding  the 
date  of  receipt  of  application. 

3.  Experience. — Except  for  the  substitution  provided  for  below,  applicants  must  show, 
as  a  minimum,  experience  as  follows. 

Head  Photographer. — Six  years  of  responsible,  progressive,  full-time  (or  an  equivalent 
aggregate  of  part-time)  paid  experience  in  high-grade  photographic  work,  at  least  3 
years  of  which  must  have  been  spent  in  one  of  the  optional  branches  listed  above,  either 
(a)  as  supervisor  of  a  photographic  laboratory  performing  photographic  work  of  more 
than  ordinary  difficulty  and  having  the  responsibility  for  the  work  of  one  or  more 
assistants;  or  (b)  as  a  photographer  engaged  in  making  photographs  of  subject  matter 
(Continued  on  page  27) 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  REKT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


International  Photographer  for  November,  1941 


17 


P  fl  T  €  n  T  s 

By  ROBERT  W.  FULWIDER,  Patent  Attorney,  Los  Angeles 


No.    2,254,462  —  Method    of    Creating 
Depth  and  Texture  Effects  in  Ani- 
mated Cartoons.  Mary  Louise  Weiser. 
assignor    to    Walt    Disney    Productions, 
Los  Angeles,  Calif.  Application  Novem- 
ber 21  ,1939.  6  claims. 
A  cartoon  cell  having  the  illusion  of  depth 
created  by  painting  an  opaque  picture  on 
the    back    of    one    transparent    sheet,    and 
painting  a  partially  translucent  image  on 
the    front    of    a    second    transparent    sheet 
which  is  placed  over  the  first  sheet. 
No.  2,254,686 — Apparatus  for  Producing 
Additive  Color  Films.  Adolf  H.  Kamp- 
jer  and  Albert  Schattman,  Berlin,  Ger- 
many. Application  Oct.  4,  1938.  In  Ger- 
many Oct.  8,  1937.    1  claim. 
A   camera   for  taking   additive   color   pic- 
tures on  two  separate  bipack  films  exposed, 
by  means   of   a   beam  splitter,   through   a 
single  objecive. 

No.    2,256,385  --  Projection    Printer. 

Ralph  M.  Evans  and  Benjamin  E.  Lubo- 

shez,   assignors   to   Eastman   Kodak   Co. 

Application  August  7,  1940.    11  claims. 

A   projection    printer   for  making   a   color 

print  from  a  color  transparency  and  having 


a  viewing  screen  to  view  the  projected  im- 
age, and  color  filters  interposable  in  the 
light  path  to  change  an  overall  hue  to  a 
natural  hue. 

No.    2,255,463  —  Treatment    Bath    and 
Process  for  the  Production  of  Col- 
ored    Photographic     Pictures.     Bela 
Gaspar,   Hollywood,   Calif.,   assignor  to 
Chromogen,    Inc.   Application   Mav    27, 
1939.   In   Germany,   May  30,   1938.    18 
claims. 
A  dye  destruction  bath  for  locally  destroy- 
ing dye  in  the  production  of  colored  pho- 
tographic    pictures,    the    bath     containing 
hydrohalic  acid  and  hydroahalic  acid  salts. 
Nos.  2,256,396  (14  claims)  and  2,256,397 
(11    claims)  -  -  Projection    Printer. 
Benjamin  E.  Luboshez,  assignor  to  East- 
man  Kodak   Co.   Application   August  7, 
1940. 
Projection    printers    having    a    horizontal 
gate  for  the  negative  film   and  a  vertical 
gate  for  the  positive. 

No.  2,256,402 — Variable  Density  Sound 
Recording.  John  H.  McLeod  and  Otto 
Sandvik,  assignors  to  Eastman  Kodak 
Co.  Application  April  9,  1940.   8  claims. 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE  IN  EVERY  DETAIL 


HOLLYWOOD   USERS    CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

•  SENSITESTER— For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART   REEVES 


Cable  address:  ARTREEVES 
1515  Cahuenga  Blvd.  Hollywood,  California,  U.  S.  A. 


18 


A  variable  density  sound  recording  system 
in  which  the  light  is  passed  through  a  tri- 
angular aperture,  and  condenser  lens,  a 
mirror  on  which  the  condenser  is  focused, 
and  additional  lenses  forming  at  least  one 
aerial  image  before  the  light  reaches  the 
film. 

No.   2,256,692 — Projection   Screen   for 
Cinematography,    Television,    Stere- 
oscopy,  and  Like  Purposes.  John  Les- 
lie Stableford,  London,  England.  Appli- 
cation September  3,  1940.  In  Great  Brit- 
ain August  31,  1939.   6  claims. 
A   projection  screen  having  a  highly  pol- 
ished metal   surface  covered  with  a  large 
number  of  fine  furrows  in  immediate  just- 
aposition   and   substantially   imperceptible 
to  the  naked  eye. 

No.    2,257,182— Film    Splicing    Device. 
Roy    C.    McClay,    assignor    to    Warner 
Bros.   Pictures,    Inc.   New   York,   N.   Y. 
Application     November     15,     1937.     4 
claims. 
A    film    scraping    device   having    a    wheel 
which  may  be  moved  across  the  film  and 
rotated  simultaneously  by  a  rack  and  pin- 
ion to  provide  the  scraping  action. 
No.  2,257,254 — Cinematographic  Appar- 
atus.  Lloyed  E.   Whittaker,  assignor  to 
Technicolor  Motion  Picture  Corp.  Appli- 
cation September  10,  1940.  13  claims. 
A  continuous  printer  in  which  the  positive 
raw  stock  first  comes  in  contact  with  the 
sound  negative,  is  printed,  and  then  leaves 
the  sound  negative,  and  then  comes  in  con- 
tact  with  the  picture  negative,  is  printed 
and  then  leaves  it,  the  carrier  for  the  differ- 
ent   films    being    an    endless    belt    having 
sprocket  teeth  thereon. 
Nos.  2,257,560  &  2,257,561 

2,257,560 — Cecil  No.  Batsel,  assignor  to 
Radio    Corporation    of  America.   Appli- 
cation Jan.  28,  1938.   4  claims. 
2,257,561 — William   A.   Black,   assignor 
to  Radio   Corporation  of  America.  Ap- 
plication July  26,  1938.   20  claims. 
A  device  for  blopping  sound  film  by  means 
of  a  shutter  moving  in  the  light  beam  of 
the  film  when  a  film  splice  passes  by. 


for  difficult  shot*  —  THE     ORIGINAL 

Scheibe's  Monotone  Filter 

INDICATES  instantly  how  every  color  and 
light  value  of  a  scene  or  object  will  be  ren- 
dered in  the  finished  print  befort  taking 
the  picture.     -:■     always  ready. 

GRADUATED  FILTERS 

nmhV*    irri    NiiMttr«>i 
FOG  SCENES,  DIFFUSED  FOCUS  AND  OTHER  EFFECTS 

VhJTE  fOR  FOLDER  TWinoakiZIOI 

Gcorqo  H.  Scheibo 

ORIGINATOR    OF    EFFECT    FILTERS 
1927  WEST  78™  ST  LOS  ANGELES.  CAL 


Maneuvers  in  Louisiana — Photo  by  U.  S.  Army  Signal  Corps 


S^peed    Lj rap hie   Aoin5    the   ~Arrm 


y 


f 


The  resources  of  photography  are  being  applied 
to  warfare  as  never  before.  For  example,  Speed 
Graphic  Cameras  are  on  active  duty  with  the 
U.  S.  Army  Signal  Corps  in  recording  the  per- 
formance of  our  growing  field  armies  in  train- 
ing and  on  maneuvers  .  .  .  with  the  Air  Forces 
for  ground  work  of  all  types  .  .  .  with  the  Navy 


for  pictures  aboard  and  ashore  .  .  .  and  with 
governmental  agencies  in  photographic  activi- 
ties contributing  to  the  national  welfare. 

With  such  a  large  part  of  our  facilities  de- 
voted to  the  present  emergency  we  are  sure  our 
civilian  customers  will  be  patient  if  deliveries 
are  not  as  prompt  as  usual. 


FDLMEH  GRAFLEX  CORPORATION,  ROCHESTER,  NEW  YORK,  U.S.A. 


GRAFLEX 

AMERICAN-MADE 


^CAMERAS 


International  Photographer  for  November,  1941 


19 


"up  high 


tf 


By  Glenn  R.  Kershner 


Leaning  over  the  hand  railing  of  a  par- 
allel on  a  sound  stage,  I  looked  down  at 
the  floor,  watching  the  actors  and  what 
seemed  a  lot  of  confusion.  A  light  was 
pushed  here,  another  raised,  diffusion 
dropped  in  one  and  some  taken  off  another 
while  the  actors  walked  through  their  lines. 
The  director  must  have  been  satisfied,  for 
he  nodded  his  head  and  turning  to  the 
cameraman  said,  "Let's  make  it." 

"Hit  'em  all,"  shouted  the  gaffer.  Small 
remote  switches  clicked,  larger  ones  in  re- 
mote boards  higher  up  clanked  and  the 
big  set  became  all  aglow  in  the  soft  light 
of  the  Inkies.  The  command  "Hit  your 
arcs"  made  me  automatically  flip  the  switch 
on  my  No.  170  High  Intensity  Arc.  The 
carbons  spat  for  a  moment,  then  a  bright 
shaft  of  light  flooded  a  section  of  a  great 
ballroom.  Keeping  my  eye  on  the  gaffer 
I  the  chief  electrician ) ,  I  watched  him  go 
to  the  center  of  the  beam  and  measure  the 
light  with  a  meter.  It  was  too  bright.  He 
had  me  flood  the  arc  two  turns  and  drop 
on  a  double  net  diffusion. 

In  a  few  minutes  he  tried  several  more 
arcs,  seniors  and  juniors,  in  the  same  way. 
The  key  light  and  filling  lights  received 
the  same  attention  before  the  cameras  were 
started — all  necessary  in  studio  photogra- 
phy of  today  so  that  the  laboratory  with 
their  developing  machines  running  so 
many  feet  a  minute  can  give  the  cameraman 
the  effect  for  which  he  has  been  striving. 

The  working  of  that  little  light  meter, 
the  present  lighting,  and  the  many  new 
lamps  with  their  queer  names,  all  so  essen- 
tial, is  why  I'm  up  here  shirtless  on  this 
parallel  with  my  gloves  on.  running  these 
two  big  arcs  that  are  as  hot  as  boilers  in 
an  atmosphere  that  reads  103  degrees  on 
my  little  thermometer.   Sometimes  I   won- 


der why  the  roof  doesn't  catch  fire.  There 
are  eighty-six  men  operating  these  arcs  be- 
side myself,  and  then  there  are  all  kinds 
of  big  incandescent  lamps  filling  every 
little  nook  and  corner.  They  tell  me  there 
is  almost  enough  electricity  being  used  to 
light  a  city  of  10,000  people  at  dinner  time, 
with  their  radios  running. 

To  me  this  is  all  a  thrill  as  I  stand  on 
this  narrow  parallel  swung  on  chains  from 
the  top  of  the  stage  and  with  little  more 
than  hand-rails  to  hold  to.  I  look  at  the 
various  parallels  of  lamps,  just  like  floors 
in  a  building,  half  naked  men  operating 
them,  some  sitting  on  chairs,  others  on  dif- 
fusion boxes,  while  others  are  resting  on 
spiders  where  the  cables  are  coupled  to- 
gether and  thousands  of  amperes  passing 
within  a  few  inches.  Then  I  look  down  on 
the  action  on  the  floor  where  it  is  cool. 
Beautifully  gowned  girls,  flowers,  playful 
fountains  of  water,  clinking  glasses  and 
laughter. 

While  doing  this  work  I've  met  a  great 
brotherhood  of  men,  the  electricians,  who 
have  been  trained  to  this  profession  by 
years  of  hard  work;  to  sweat,  carry  heavy 
loads  and  to  work  on  narrow  cat-walks 
where  a  misstep  might  spell  disaster.  They 
go  quietly  on  their  way  and  never  are  men- 
tioned in  the  headlines,  but  without  them 
and  their  efficient  department  heads  the 
great  industry  of  movie-land  would  be 
greatly  handicapped. 

To  look  up  from  the  floor  at  the  lamps 
and  cables  is  one  thing,  but  to  be  up  high 
and  look  at  the  maze  of  cables  of  all  sizes 
running  in  all  directions  over  the  parallels 
and  beams,  to  know  where  they  are  going 
and  how  to  put  them  there  is  another  thing. 
I  have  always  had  great  curiosity  to  know 
something  first-handed  about  this,  and  dur- 


Landers  Camera  Rentals 

CAMERA   RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

DAY PHONES NIGHT 

Hillside        6373  De  Longpre  Ave.     HEmpstead 
8333  Near  I var  Street  1311 

HOLLYWOOD,  CALIFORNIA 


ing  these  two  months  when  I  have  not  been 
running  an  arc,  I  have  been  on  the  rigging 
crew,  better  known  around  the  studio  as 
the  "iron  gang" — and  iron  it  is,  no  word 
better  could  fit  it.  It's  WORK  this  getting 
a  set  ready  to  shoot. 

When  the  carpenters,  painters  and  paper 
hangers  have  finished,  truck  loads  of  cable 
and  lamps  are  unloaded  on  the  floor  and 
men  skin  up  into  that  maze  of  rafters  and 
parallels  like  so  many  monkeys.  Hand  lines 
are  dropped  from  the  various  stages  of 
heights,  blocks  and  tackle  are  pulled  up 
and  in  no  time  at  all  several  crews  of  men 
are  pulling  lamps  weighing  as  much  as  five 
hundred  pounds  and  more  up  high,  where 
they  are  pulled  in  and  fastened  securely. 
Cables  of  all  sizes  are  being  dropped  from 
the  main  switches  high  on  the  cat-walks  di- 
rectly under  the  roof.  These  reach  down  to 
the  big  switchboards  that  have  just  been 
pulled  up.  From  these,  cables  run  like 
spaghetti  along  the  walks  to  spiders,  where 
the  lugs  are  clamped  on. 

Cables  with  plugging  boxes  on  the  ends 
are  clamped  on  and  pulled  to  places  of  ad- 
vantage for  plugging  in  the  various  lamps. 
More  cables  are  dropped  to  the  floor  for 
the  floor  crew  to  plug  in  the  lamps  work- 
ing below  .  .  .  but  while  all  this  has  been 
going  on,  the  boss  rigger,  having  a  pre- 
pared chart  of  where  the  cameraman  wants 
the  lights,  has  directed  the  stringing  of  the 
cables,  placing  the  lamps  and  switchboards 
so  that  various  groups  of  lamps  will  work 
at  the  same  time  from  the  remote  boards 
so  effects  can  be  made  instantly  without 
changing  the  lamps  or  wiring.  He  also  has 
worked  out  the  vast  load  so  it  will  always 
be  equally  distributed  on  the  generators. 

It  would  be  impossible  in  the  space  al- 
lotted to  tell  what  the  juicer  does,  how  he 
climbs  dark  ladders,  pulls  heavy  hand 
lines,  lugs  loads,  peeks  through  little  dark 
glass  windows  at  sputtering  arcs  to  see 
that  they  are  at  the  right  angle  so  they 
will  not  whistle  or  howl  and  spoil  the  re- 
cording, or  to  stand  on  some  parallel  in 
the  biting  wind  with  only  the  heat  of  the 
lamp  to  warm  him. 

It's  a  rough  and  rugged  life  and  the  elec- 
trician plays  his  part  in  making  the  pro- 
duction a  success.  One  thing  I  shall  never 
forget  is  the  time  they  took  to  show  me  all 
the  things  I  wanted  to  know.  The  gaffers  in 
every  studio  went  out  of  their  way  to  give 
me  meter  readings  and  the  queer  names  of 
present  lamps  and  equipment. 

I  have  written  books,  drawn  sets  and 
built  them,  directed  and  photographed 
them,  but  never  have  I  seen  so  much  of 
real  picture  making  as  I  have  while  watch- 
ing it  all  go  on  from  the  high  perch  on  a 
parallel. 


20 


International  Photographer  ]ot  November,  1941 


Process  Photography 

colli  lob 

LIGHT  THAT  BLENDS  WITH  THE  SCREEN 


•  The  use  of  carbon  arc  foreground 
lighting  in  process  photography  insures 
perfect  blending  with  the  light  coining 
through  the  screen.  Modern  studio  arc 
lamps  supply  light  of  daylight  quality, 
the  same  as  the  high  intensity  arcs  used 
for  projecting  the  background  scene. 

Avoid  contrasts  in  light  quality  that 
destroy  the  perfect  illusion  sought  in 
process  photography. 


Carbon  Sales  Division,  Cleveland,  Ohio 

GENERAL  OFFICES 
30  East  42nd  Street,  New  York,  N.  Y. 

BRANCH  SALES  OFFICES 
New  Yorlc,  Pittsburgh,  Chicago,  St.  Louis,  San  Francisco 


International  Photographer  for  November,  1941 


21 


mflofwinos 


Super  D  Graflex  Features  Built-in 
Open  Flash  Synchronization 

The  Super  D  Graflex,  previewed  by  Aug- 
ust Conventionaires  during  the  Trade 
Show  in  Chicago,  features  re-styled  con- 
trols with  chromium  and  black  finish, 
plus  a  new  and  exclusive  feature — built-in 
open-synchronization.  Used  with  a  Graflex 
Flashing  Unit  and  lamps  of  the  SM  type, 
exposures  in  the  neighborhood  of  1/200 
second  are  secured  that  are  more  than  ade- 
quate for  child  portraits  and  most  action 
pictures.  And,  thanks  to  the  safety  circuit, 
the  lamp  will  not  ignite  unless  the  release 
lever  that  makes  the  picture  is  deliberately 
pressed  down.  With  a  6%"  Kodak  Anas- 
tigmat  f/4.5  die  Super  D  Graflex  is  priced 
at  $141.00. 

Adding  this  new  independence  of  light- 
ing to  the  long-recognized  advantages  of 
parallax-free,  ground-glass  focusing  and 
an  erect  image  the  full  size  of  the  nega- 
tive, makes  the  Super  D  Graflex  an  even 
more  valuable  camera  for  all-around  pho- 
tography than  its  popular  predecessor 
Series   D. 


Victor  Are  Lamp  Projector 

A  new  Victor  product — the  Victor  Model 
"E"  High  intensity  Arc  Lamp  Projector — 
has  just  been  announced  by  the  Victor 
Animatograph  Corporation  of  Davenport. 
Iowa.  This  model  was  especially  designed 
by  Victor  engineers  for  heavy-duty  service 
and  to  fulfill  a  demand  for  a  projector  that 
will  produce  ultra  brilliance  of  screen 
images  in  large  auditoriums  and  outdoor 
areas. 

Complete  unit  consists  of  Projector, 
Sound  Unit,  Amplifier,  Speakers  (2),  Arc 
Lamp,  Rectifier  and  Projector  Stand. 

Literature  containing  complete  specifica- 
tions and  features  of  this  new  projector  is 
now  available.  Request  Form  No.  1052. 
Address  Victor  Animatograph  Corporation, 
Davenport,  Iowa. 

Fast  Twin-eight  Film 

Twin-Eight  Triple  S  Pan  Reversible  for 
users  of  Double-ornm  cameras  —  has  just 
been  introduced  by  Agfa  Ansco. 

Three  to  four  times  faster  than  Twin- 
Light  Hypan,  the  new  film  will  be  wel- 
comed by  users  of  Double-8mm  cameras 
for  the  greatly  increased  subject  range  it 
provides.  Twin-Light  Triple  S  Pan  can  be 
n-cd  for  Loth  indoor  and  outdoor,  da)  or 
night  scenes,  and  is  especially  recommend- 
ed for  action  shots  or  interiors  where  light- 
ing conditions  are  unfavorable. 

In    addition    to    balanced    panchromatic 


color  sensitivity,  the  new  material  provides 
remarkably  fine  grain  and  brilliant  grada- 
tion essential  for  superior  8mm  projection 


Super  D  Graflex  with  built-in  open   flash 
synchronization 


work.  Protection  against  halation  is  af- 
forded by  an  exclusive  brown  silver-coating 
between  the  emulsion  and  the  base,  which 
is  removed  during  processing.  A  special 
lavender-tint  base  aids  in  giving  the  film 
excellent  projection  quality.  The  new  film 
offers  wide  latitude  to  compensate  for  in- 
advertent misjudgment  of  exposure  as  well 
as  good  resolving  power  to  insure  clear  and 
sharp  results. 

Made  by  Agfa  Ansco  in  Ringhamton, 
New  York,  Twin-Eight  Triple  S  Pan  Rever- 
sible is  supplied  in  25-foot  spools  (50  feet 
of  8mm  film),  which  may  be  processed  at 
any  authorized  Agfa  Ansco  laboratory. 

Flash  Bulb  Prices  Reduced 

Welcome  news  to  flash  photographers 
are  the  new  list  price  reductions  in  the 
Wabash  Superflash  line  recently  announced 
by  Mr.  A.  M.Parker,  President  of  Wabash 
Photolamp  Corporation.  Most  important 
reduction  is  the  new  11^  list  price  of  the 
midget  bayonet  base  Press  25,  dropped 
from  15(/.  This  teams  the  midget  bulb  with 
the  smallest  standard  size  flash  bulb,  the 
No.  0,  as  two  11^  flash  bulbs  that  have 
power  and  punch  to  cover  almost  95%  of 
the  average  amateur  picture-taking  require- 
ments. In  announcing  the  reduction,  Mr. 
Parker  commented  that  widespread  popu- 
larity of  the  midget  Press  25  and  increased 
facilities  for  mass  production  made  pos- 
sible the  new  low  price.  Also  reduced  is 
the  Blackout  Superflash  from  GOf1  to  50(f 
list.  All  reductions  effective  October  1, 
1941. 

A  new  Wabash  Exposure  Bulletin 
brought  up-to-date  as  of  October  1st,  lists 
all  of  the  new  Wabash  flash  and  flood  bulbs 
for  color,  the  new  Blackout  Superflash,  and 
all  other  Wabash  photolamps.  Complete 
exposure  data  on  their  use  with  all  avail- 
able films  for  black  and  white  and  color 
flash  photography,  is  included.  The  new 
Bulletin  No.  740P  can  be  had  by  writing 
the  Wabash  Photolamp  Corp.,  Brooklyn, 
N.  Y. 


Victor  Arc   Lamp   Projector 


CI\EX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing   Heads,   Developing   Machines,   Bipack 
Color  and  Black  and  White  Printers,  Re- 
winds. 
Special   Machinery    built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollywood,  Calif. 

Cable    Address:     "CINEBARSAM" 


22 


Inventor  Discusses  "Increased 
Range"  System  of  Motion 
Picture  Photography 

A  revolution  in  motion  picture  photog- 
raphy that  may  produce  an  accompanying 
revolution  in  acting  for  the  screen,  with  a 
corresponding  increase  in  enjoyment  for 
Mr.  and  Mrs.  Average  Movie  Goer,  was 
described  before  the  25th  Anniversary  Con- 
vention of  the  Society  of  Motion  Picture 
Engineers  at  the  Hotel  Pennsylvania. 

Dr.  Alfred  N.  Goldsmith,  noted  inventor, 
told  of  his  new  "increased  range"  system 
of  motion  picture  photography  before  a 
technical  session  of  the  convention  which 
also  devoted  lengthy  discussion  periods  to 
such  other  new  developments  as  mobile 
television  equipment  for  providing  movie 
patrons  with  radio-pictures  of  notable 
events,  color  television,  and  development 
of  new  photocell  equipment. 

Dr.  Goldsmith  explained  how  his  de- 
velopment permits  actors  to  move  about 
freely  on  a  movie  set  without  fear  of  mov- 
ing out  of  camera  focus,  pointing  out  that 
the  system  removes  the  limitations  of  fixed 
focus  which  characterize  every  lens,  sub- 
stituting a  virtually  unlimited  range. 

"The  human  eye  has  this  increased 
range,"  Dr.  Goldsmith  explained.  "That's 
why  in  a  theatre  we  can  follow  the  actors 
all  over  the  stage,  from  the  footlights  to 
the  backdrop,  without  having  them  move 
out  of  the  focal  range  of  our  eyes. 

"The  motion  picture  has  been  limited  in 
this  respect  since  its  earliest  days,  for  di- 
rectors have  been  forced  to  keep  their 
actors  within  the  narrow  focal  range  of  the 
camera.  Much  has  been  lost  in  creating  the 
illusion  of  true,  flowing  motion.  Instead, 
we  have  had  to  substitute  a  succession  of 
glimpses  of  the  action." 

Dr.  Goldsmith's  system  automatically 
compensates  for  the  fixed  focus  of  the  cam- 
era lens  by  lighting  first  the  foreground, 
then  the  middle  distance,  and  then  the 
background  of  each  scene  each  time  a 
single  exposure  of  the  motion  picture  film 
is  made.  At  the  same  time,  the  camera 
focus  is  kept  in  step  with  the  lighting  by 
means  of  a  series  of  compensating  plates 
revolving  behind  the  lens.  Thus,  whichever 
part  of  the  set  is  being  photographed  is 
in  perfect  focus. 

"The  action  of  the  system  is  so  rapid 
that  the  illumination  may  be  divided  into 
four  or  even  more  areas  if  necessary,  al- 
though in  many  cases  only  two  areas  may 
be  required,"  the  inventor  said.  "For  each 
complete  single  exposure  of  the  moving 
film,  the  entire  set  has  been  lighted  by 
stages,  as  it  were." 

He  pointed  out  that  with  the  new  system 
actors  would  be  freed  from  the  present 
necessity  of  keeping  within  carefully  mark- 
ed bounds  on  the  set,  while  directors  would 
be  spared  the  time-wasting  work  of  meticu- 
lously measuring  distances  for  every  scene. 
Not  only  will  actors  be  given  new  freedom 
of  expression,  but  sets  and  scenes  may  be 
built  with  greater  realism  and  true  dimen- 
sion. 


DeVry  Can  Make  Quick  Delivery  Now  .  .  .  So 

CHOOSE  YOUR  CAMERA 

For  Newsreel,   Studio,   Defense,   Industrial   or  General  Use  Now! 


THE    WORLD    FAMOUS    DeVRY    MODEL    "A" 

35mm.    AUTOMATIC    CAMERA 

This  precision  instrument  has  records  of  achieve- 
ment with  Admiral  Byrd  in  the  Antarctic,  Beebe 
and  Craig  in  hot  desert  sands  and  under  tropical 
seas,  with  Norman  Alley,  ace  Universal  camera- 
man, in  filming  the  historic  scenes  of  the  bombing 
of  the  U.  S.  Panay,  with  Hollywood  cameramen 
in  recording  difficult  scenes  and  tricky  shots  too 
awkward  for  the  larger  cameras,  and  with  many 
other  renowned  professional  cameramen  and  ex- 
plorers the  world  over.  Available  NOW  at  no 
increase  in  price.  Wire,  phone  or  write  us  your 
order  NOW ! 


FILM   RECORDS  ARE  EXACT 

All    Human    Errors   of   Observation   and 
Timing  Are  Eliminated 

The  Model  "A"  is  ideal  for  industrial 
motion  study,  apprentice  training,  produc- 
tion records  and  other  informational  pur- 
poses. 


$150oo 


-ess  Lens 


ESSENTIAL    FEATURES    OF   THE 
MODEL  "A" 

Automatic  in  action,  holds  100  feet  of  film, 
takes  pictures  for  screens  20  ft.  across,  has 
accurate  footage  meter,  viewfinders,  includ- 
ing direct-on-the-film  finder  for  clear  titling. 
close-ups  and  trick  work.  Can  be  hand 
cranked  for  trick  speed  or  slow  action  shots. 
Mechanism  will  not  freeze,  bind,  break, 
cause  film  buckle  or  become  overstrained. 
Powerful,  double  counterbalanced  steel 
spring.  Simple  and  quick  in  operation. 


DE  VRY'S  Model  "77" 
16mm.  Silent  Movie 
Camera.  Three  speeds, 
16,  24  and  64  frames  per 
second.  Available  now  at 
NO  increase  in  price. 
Only  $75.00  with  F3.5 
Lens. 


YES,   WE   CAN    SUPPLY 
SOUND  CAMERAS 

Modern  single  system  cameras  for 
recording  picture  and  sound  at 
same  time.  Precision  built 
throughout.  Precise  viewfinder,  4 
lens  turret,  synchronous  motor, 
Veeder  footage  counter  and  speed 
indicator,  1000  ft.  magazines,  in- 
termittent and  sprockets  of  hard- 
ened tool  steel,  and  numerous 
other  advanced  engineering  fea- 
tures. ORDER  NOW! 


"SPECIAL"    DE    VRY    35MM.    CAMERA 


Adaptable  to  FLIGHT 
TEST  EQUIPMENT  as 
used  by  Douglas  and 
Boeing  Aircraft,  and  at 
the  Army's  Wright 
Field  Air  Base — or,  as 
an  INDUSTRIAL 
TOOL  for  analysis  of 
steel  or  similar  pro- 
ducts as  used  by  Car- 
negie-Illinois Steel, 
Allan  Wood  Steel, 
Youngstown  Sheet  and 
Tube  Co.  and  others. 
There's  a  place  for  it 
in   Your  Business! 


NO   PRICE   INCREASES 

However,  Cameras  and  Lenses  Are 
Subject   to   10%    Federal   Excise   Tax 

DE  VRY,  famous  since  1913, 
manufactures  everything  for  the 
recording  and  projecting  of 
16mm.  and  35mm.  silent  and 
sound  motion  pictures. 


DeVRY 

CORPORATION 

1111  Armitage  Avenue 

Chicago,  Illinois 
New  York         Hollywood 


International  Photographer  for  November,  1941 


23 


l6lVIIVI.  dEpARTMENT 


Light  Meters — Their  Use  and  Misuse 

Amateurs  reading  this  and  expecting  to 
be  told  what  perfect  pictures  will  result 
just  because  they  use  a  meter  to  determine 
their  exposure  are  going  to  be  disappointed. 
Nothing  could  be  further  from  the  truth  be- 
cause the  meter  is  not  a  robot,  any  more 
than  is  the  camera  itself.  A  good  photo- 
electric exposure  meter  is  an  accurate  in- 
strument for  the  purpose  of  measuring  the 
intensity  of  the  light  and  computing  the 
exposure,  but  because  of  its  high  order  of 
accuracy  it  must  be  used  intelligently,  and 
with  a  full  understanding  of  the  processes 
involved.  It  must  be  emphasized  that  mere- 
ly aiming  a  meter  in  the  general  direction 
of  the  object  we  wish  to  photograph  will 
not  result  in  a  perfect  exposure,  even  if 
we  take  into  consideration  the  correct 
values  for  the  film  speed. 

To  begin  with,  let  us  determine  what, 
exactly,  is  a  "correct"  exposure.  Actually, 
there  are  several  "correct"  exposures  for 
any  one  object,  and  we  may  consider  the 
several  successive  values  to  be  called  the 
latitude  of  the  film.  They  vary  with  the 
type  of  the  film  used,  and  the  amount  of 
development  given  that  particular  film. 
Below  the  lowest  value  of  this  latitude  we 


GOERZ 


KINO-HYPAR 
LF.NSES 

t       f:2.7  and  f:3 

/       for     regular     and     color 
movies  of  surprising 


qualify.  High  chromatic 

correction  . . . 

Focal  lengths  15mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur    and 

Professional  Movie  Cameras. 


COERZ  Reflex  FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


I    COERZ    Parallax-Free   FOCUSER  i 

and    FIELD    FINDER    CONTROL  ' 

for   Filmo    121    and   Simplex-Pockctte,    no   more  / 

off-center  pictures,  magnifies  4  and  8x.  : 

For   Driailrd   information    Addrest  \ 

'l                                          Dept.  II'    1 1  j 

■    C.  P.  Coerz  American  Optical  Co.  '• 

317   East   34th   St.,   New  York  t 

American     Lens    Makers    Since     1899 


have  under-exposure;  and  above  the  high- 
est value  permissible  in  the  latitude  we 
have  over-exposure.  In  sensitometric  par- 
lance, latitude  is  the  region  of  normal  ex- 
posure, and  now  that  we  glance  back  upon 
it — that  probably  would  have  been  the  best 
definition  in  the  first  place! 

To  determine  what  this  region  of  normal 
exposure  is,  a  series  of  tests  are  made  in 
the  lab.  called  sensitometric  strips,  which 
are  a  series  of  exposures  increasing  from 
a  very  low  value  to  a  very  high  one,  in  a 
logarithmic  progression.  When  these  strips 
are  developed  to  a  specified  value  they  are 
placed  in  an  instrument  capable  of  meas- 
uring the  density  of  each  of  these  steps  of 
different  exposure  on  the  strips  by  means 
of  the  amount  of  light  passing  through  the 
film — called  a  densitometer.  These  densi- 
tometer readings  are  plotted  on  a  graph  as 
the  ordinates  against  the  logarithms  of  ex- 
posure as  the  absiccas.  A  "curve"  results — 
which  is  curved  on  the  top  and  the  bottom, 
with  a  straight  line  connecting  them,  in  the 
middle.  It  is  this  straight  line  that  repre- 
sents the  region  of  normal  exposure  for 
that  particular  film  developed  in  the  given 
amount  of  time,  or  the  line  that  represents 
the  latitude  of  the  film.  Along  this  line,  any 
increase  of  exposure  causes  a  proportionate 
increase  in  density.  If  our  exposures  go 
into  the  upper  curve,  or  the  "shoulder," 
the  increase  in  density  is  not  proportionate 
with  the  exposure,  and  a  distortion  in  the 
contrasts  results.  The  same  holds  true  in  the 
lower  curve,  or  the  "toe."  If  we  take  a  scene 
where  all  the  principal  objects  are  within 
the  range  of  exposures  represented  by  this 
straight  line,  the  contrast  of  tones  is  faith- 
ful to  the  scene  in  reality.  But,  if  we  place 
our  exposure  either  too  high  or  too  low  on 
this  line  then  some  of  the  highlights  will 
go  into  the  "shoulder"  if  we  are  on  the  high 
end  of  the  scale,  or  some  of  the  shadows 
will  go  into  the  "toe"  if  we  are  too  low  on 
the  low  end.  It  becomes,  then,  a  problem  of 
placing  our  exposures  in  such  a  position 
on  the  scale  that  the  h'ghlights  stay  below 
the  "shoulder,"  while  the  shadows  stay 
above  the  "toe."  And  here  is  where  the 
meter  comes  in. 

In  our  opinion,  the  two  meters  on  the 
market  that  represent  a  very  high  order  of 
accuracy  are  the  General  Electric  and  the 
Weston.  Both  of  them  utilize  a  photoelec- 
tric cell  to  measure  the  intensity  of  the 
light,  and  in  both  cases  this  light  is  trans- 
lated into  electrical  energy,  which  minute 
quantity  is  measured  by  a  very  sensitive 
meter.  The  stronger  the  light,  the  stronger 
the  electrical  current  generated  by  the  cell, 
and  hence  the  higher  the  reading  on  the 
scale.  But  here  is  where  their  similarity 
slops.  Primarily  designed  for  reading  re- 
flected light — the  light  reflected  from  the 
subject — its  scale  is  calibrated  in  candles 
per   square   fool     the    unit    of   brightness. 


Since  the  scale  of  the  Weston  meter 
is  a  logarithmic  one,  there  is  one  big 
advantage  and  one  big  disadvantage.  The 
advantage  lies  in  that  the  calculator  is 
arithmetical,  and  hence  very  easy  to  read. 
Added  to  that,  the  entire  sensitometric 
curve  is  practically  laid  out  on  the  cal- 
culator, and  if  the  development  factor  is 
known  it  is  possible  to  place  the  exposure 
at  any  predetermined  point  on  the  straight 
line  portion,  or  the  region  of  normal  ex- 
posure. We  can  predetermine  the  density  of 
the  developed  negative.  And  make  sure 
that  none  of  our  highlights  (except  catch- 
lights,  or  "kicklights")  go  outside  of  the 
normal  exposure  reigon  on  the  high  side, 
nor  any  of  the  shadows  on  the  low  side. 
The  disadvantage  lies  in  the  fact  that  since 
the  scale  is  a  logarithmic  one,  any  errors 
made  in  the  reading  of  the  meter — of  the 
light  portion  of  it  —  will  be  logarithmic, 
and  hence  show  up  as  serious  errors. 

In  the  General  Electric  the  scale  is  an 
arithmetical  one,  the  unit  of  mensuration 
being  the  foot-candle.  Here  a  slight  error 
in  the  evaluation  of  the  light  is  an  arith- 
metical error,  and  as  such  will  not  show 
up  as  gravely — but  the  calculator  is  logar- 
ithmic, and  as  such  a  little  more  difficult 
to  read.  In  this  calculator  we  do  not  have 
the  sensitometric  curve  spread  out  before 
us  as  we  do  on  the  Weston  calculator.  But 
there  is  an  advantage  the  General  Electric 
meter  has  which  is  not  found  with  the 
Weston. 

The  General  Electric  has  been  designed 
primarily  for  incident  light  readings — the 
measuring  of  the  intensity  of  the  light  it- 
self, rather  than  the  light  reflected  from  the 
object.  In  this  method  the  meter  is  pointed 
toward  the  camera,  with  the  light  falling 
upon  the  sensitive  cell  in  the  same  manner 
it  falls  upon  the  subject.  It  is  to  be  remem- 
bered that  light  striking  an  object  at  an 
angle  will  appear  to  have  a  lesser  intensity 
than  light  striking  perpendicularly,  so  for 
this  reason  it  is  important  to  measure  the 
light  as  the  camera  will  see  it.  While  the 
General  Electric  meter  has  been  adapted  to 
read  incident  light  only  up  to  70  foot- 
candles — from  there  on  they  go  into  the 
reflected  light  method — it  is  possible  to 
secure  a  multiplier  which  fits  over  the  sen- 
sitive cell  and  lets  only  10%  of  the  light 
reach  the  sensitive  surface.  This  raises  the 
70  foot-candle  scale  to  a  700  foot-candle 
scale.  A  tip  to  those  using  this  method: 
The  calculator  on  this  meter  only  provides 
for  the  70  foot-candle  scale  for  use  with 
the  incident  light  readings.  If  you  wish  to 
use  the  calculator  with  the  multiplier,  then, 
instead  of  taking  1/50  of  a  second — if  that 
is  the  speed  you  wish  to  use — on  the  cal- 
culator, take  1/5.  And  use  the  "Dim  Light 
Arrow."  What  is  being  done  in  effect  is  to 
multiply  the  calculator  by  ten  in  the  same 
(Continued  on  page  27) 


24 


International  Photographer  for  November,  1941 


25 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


TCL£  V 


Du  Monte  Mobile  television  equipment,  comprising  the  camera,  camera  controls 
and  synchronizing-signal  generator,  shading  control  and  monitor,  power  supply 
and  other  units,  all  capable  of  being  packed  into  an.  ordinary  automobile. 


Television  Pickup  Equipment 
In  Units  and  Chains 

Breaking  down  the  intricate  mass  of  tele- 
vision pickup  equipment  into  the  various 
functional  categories,  translated  into  in- 
dividual units  which  in  turn  connect  and 
work  together  to  form  a  chain  for  given 
video  broadcasting  requirements,  Du  Mont 
engineers  have  vastly  simplified  television 
studio  and  remote  pickup  equipment.  In- 
deed, it  is  now  feasible  to  obtain  just  the 
units  required  for  given  video  program 
work,  while  the  flexibility  of  the  chain  per- 
mits the  addition  or  substitution  of  units 
at  any  time  as  changing  conditions  may 
dictate.  The  interchangeability  of  some 
units,  plus  the  fact  that  the  exact  same 
units  are  available  for  both  studio  and  out- 
side usage,  spells  minimum  investment  for 
the  telecaster. 

Both  direct  camera  pickup  and  film  pick- 
up requirements  are  covered  by  the  units 
and  chains.  The  chains  may  be  single-  or 
dual-camera  chains.  The  same  units  can  be 
arranged  in  a  wide  varietj  of  combinations 
to  take  care  of  varying  conditions  and 
changing  needs.  The  units  are  housed  in 
attractive  individual  metal  cases,  with  car- 
rying handles  and  removable  front  covers 
i-\|.(>-iii'.-    the    (lain-l-    loi     operation.    The) 

26 


connect  together  by  flexible  cables,  plugs 
and  receptacles.  The  units  may  be  placed 
on  tables  or  shelves  for  studio  pickup,  or 
packed  in  a  car  for  outside  or  remote  pick- 
up use.  This  dual  function  is  highly  im- 
portant, particularly  to  the  small  telecaster 
who  wishes  to  minimize  his  investment. 

The  single  iconoscope  camera  chain 
comprises  twelve  units,  namely,  the  icono- 
scope camera  mounted  on  its  tripod,  the 
camera  supply  power  unit,  the  electronic 
view  finder,  the  view  finder  supply  unit, 
the  iconoscope  camera  control  unit,  the 
camera  control  power  supply  unit,  the 
shading  generator  and  monitor  oscillo- 
graph, the  camera  monitor  and  supply  unit, 
the  line  amplifier,  switching  unit  and  mon- 
itor oscillograph.  This  chain  feeds  directly 
into  the  transmitter  and  the  12-inch  station 
monitor,  or,  when  used  for  remote  pickup, 
into  the  ultra-high-frequency  transmitter. 

A  dual  camera  chain  calls  for  two  cam- 
eras, each  with  its  camera  power  supply, 
electronic  view  finder,  and  view  finder  sup- 
ply units,  working  in  conjunction  with 
their  individual  camera  control,  camera 
control  power  supply,  camera  monitor,  and 
camera  monitor  supply  units,  both  chains 
working  directly  with  line  amplifier, 
unit    and    monitor    oscillograph- 


line  amplifier  power  supply,  line  monitor 
supply,  synchronizing  generator  and  line 
monitor,  feeding  into  transmitter  and  sta- 
tion monitor,  or  ultra-high-frequency  relay 
transmitter. 

The  Du  Mont  engineers  have  built  for 
telecasters  a  dual  film  pickup  camera  chain, 
which  included  two  camera  scanning  units 
picking  up  movie  images  projected  by 
movie  projectors,  and  41  associated  units. 
Since  each  equipment  is  for  studio  or  sta- 
tionary use,  the  units  are  permanently 
mounted  in  racks  with  a  sloping  panel  desk 
at  which  sit  the  operators  who  monitor  the 
images  appearing  before  them  on  12-inch 
screens,  with  the  further  guidance  of  oscil- 
lograph signal   patterns. 

The  units  are  made  to  a  uniform  cabinet 
design,  finished  in  crackeled  gray  with 
chrome  trim.  Each  unit  is  fully  portable. 
Its  panel  and  controls  are  protected  by  a 
removable  cover.  Connections  are  facili- 
tated by  cables,  plugs  and  receptacles,  fully 
keyed  to  insure  correct  connections.  The 
basic  power  supply  is  the  usual  115-volt 
60-cycle  AC  line.  An  adequacy  of  controls 
and  cathode-ray  screen  monitors  provides 
for  proper  control  and  supervision  at  every 
stage  in  the  long  and  intricate  successions 
of  functions  from  camera  to  transmitter.  In 
the  usual  pickup  routine  only  two  operators 
are  required,  namely,  the  camera  operator 
who  aims  the  lens  and  keeps  it  on  the  sub- 
ject, with  due  regard  for  field,  action  and 
focus,    and    the    monitor    operator    at    the 


sw  itchin 


The  electronic  view  finder  with  cover 
removed  to  show  working  details.  The 
cameraman  knows  precisely  what  he  is 
getting  and  what  he  is  passing  on  to  his 
audience. 


camera  monitor  who  follows  the  video 
images  and  makes  adjustments  for  lights 
and  shadows  and  contrast,  and  who  also 
checks  on  the  supply  units  and  line  ampli- 
fier. The  recent  introduction  of  the  Du 
Mont  electronic  view  finder  greatly  facili- 
tates the  operation  of  the  television  camera, 
since  the  cameraman  now  sees  precisely 
what  he  is  picking  up  in  video  terms,  in- 
stead of  in  the  optical  terms  of  the  usual 
better  use  of  available  lighting,  since  he  im- 
mediately sees  the  video  results,  and  can 
often  correct  for  excessive  lights  or  shad- 
ows and  contrast,  although  the  corrections 
are  made  by  the  second  operator  at  the 
camera  monitor  controls  a  few  feet  away. 

The  single  camera  chain  units  readily 
pack  into  a  sedan  automobile  and  can  be 
handled  by  two  men.  For  radio  relay  work, 
of  course,  there  must  be  the  ultra-high-fre- 
quency transmitter  providing  the  radio  link 
with  home  studio  and  transmitter.  If  sound 
is  included  in  the  pickup,  then  of  course 
there  must  be  a  separate  setup  for  audio, 
including  microphones,  amplifiers,  moni- 
tors and  the  audio  transmitter. 


(Continued  from  page  17) 

requiring  a  high  degree  of  technical  skill,  involving  the  use  of  modern,  specialized  pho- 
tographic equipment,  and  demonstrating  unquestionably  the  applicant's  ability  to  handle 
successfully  extremely  difficult  problems  in  photography;  or  (c)  any  time-equivalent 
combination  of  (a)   and   (6). 

Senior  Photographer. — Four  years  of  responsible,  progressive,  full-time  for  an  equiva- 
lent aggregate  of  part-time)  paid  experience  in  high-grade  photographic  work,  at  least 
1  year  of  which  must  have  been  spent  in  one  of  the  optional  branches  listed  above  and 
which  must  have  demonstrated  the  applicant's  ability  to  perform  successfully  photo- 
graphic work  of  more  than  average   difficulty. 

Assistant  Photographer. — Two  years  of  progressive,  full-time  (or  an  equivalent  aggregate 
part-time)  paid  experience  in  high-grade  photographic  work,  at  least  6  months  of 
which  must  have  been  spent  in  one  of  the  optional  branches  listed  above. 
Under  Photographer. — Six  months  of  full-time  (or  an  equivalent  aggregate  of  part-time) 
paid  experience  in  photographic  work,  or  in  work  involving  photographic  processes  such 
as  photostating,  multilith  plate-making,  and  similar  work  of  equal  value. 
Substitution  of  education  for  experience. — For  not  more  than  1  year  of  the  experi- 
ence prescribed  for  Senior  and  Assistant  Photographer  and  for  the  6  months  of  the 
prescribed  experience  for  Under  Photographer,  applicants  may  substitute  study  suc- 
cessfully completed  in  a  resident  school  of  photography.  Twenty  hours  spent  in  school 
work  will  be  considered  equivalent  to  1  week  of  paid  experience.  Applicants  who  wish 
to  substitute  education  for  experience  must  state  in  their  applications  the  number  of 
hours  spent  in  school   work. 

Experience  acquired  as  an  amateur  or  in  the  pursuit  of  photography  as  a  hobby  will 
not  he  accepted  as  qualifying  for  any  grade. 

There  are  other  qualifications  as  to  physical  ability,  etc.  Complete  information  may  be 
secured  from  Secretary,  Board  of  United  States  Civil  Service  Examiners  at  any  first  or  second- 
class  post  office. 


STATEMENT  OF  THE  OWNERSHIP,  MANAGEMENT,  CIRCULATION,  ETC.,  REQUIRED 
BY  THE  ACTS  OF  CONGRESS  OF  AUGUST  24,  1912,  AND  MARCH  3,  1933 

Of  International  Photographer,  published  monthly  at  Los  Angeles  for  October,  1941. 

State  of  California  j 

County  of  Los  Angeles  \ 

Before  me,  a  Notary  Public,  in  and  for  the  State  and  County  aforesaid,  personally  ap- 
peared Helen  Boyce,  who,  having  been  duly  sworn  according  to  law,  deposes  and  says  that  she 
is  the  Business  Manager  of  the  International  Photographer,  and  that  the  following  is,  to  the 
best  of  her  knowledge  and  belief,  a  true  statement  of  the  ownership,  management  (and  if  a 
daily  paper,  the  circulation),  etc.,  of  the  aforesaid  publication  for  the  date  shown  in  the  above 
caption,  required  by  the  Act  of  August  24,  1912,  as  amended  by  the  Act  of  March  3,  1933,  em- 
bodied in  section  537,  Postal  Laws  and  Regulations,  printed  on  the  reverse  side  of  this  form, 
to- wit : 

1.  That  the  names  and  addresses  of  the  publisher,  editor,  managing  editor,  and  business 
managers  are: 

Publisher,  International  Photographer,  Los  Angeles,  California.  Editor,  Herbert  Aller, 
Los  Angeles,  California.  Managing  Editor,  Herbert  Aller,  Los  Angeles,  California.  Business 
Manager,  Helen  Boyce,  Los  Angeles,  California. 

2.  That  the  owner  is:  (If  owned  by  a  corporation,  its  name  and  address  must  be  stated 
and  also  immediately  thereunder  the  names  and  addresses  of  stockholders  owning  or  holding  one 
percent  or  more  of  total  amount  of  stock.  If  not  owned  by  a  corporation,  the  names  and  ad- 
dresses of  the  individual  owners  must  be  given.  If  owned  by  a  firm,  company,  or  other  unin- 
corporated concern,  its  name  and  address,  as  well  as  those  of  each  individual  member,  must 
be  given.)  International  Photographers,  Local  659,  International  Alliance  of  Theatrical  Stage 
Employes  and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  6461  Sun- 
set Blvd.,  Hollywood,  California.  President,  Gustav  C.  Peterson;  1st  Vice-President,  Ed  Esta- 
brook;  2nd  Vice-President,  Leon  Shamroy;  Financial  Secretary-Treasurer,  Ernest  Bachrach; 
Recording  Secretary,  James  V.  King;   Sergeant-at-Arms,  Len  Powers. 

3.  That  the  known  bondholders,  mortgagees,  and  other  security  holders  owning  or  holding 
1  per  cent  or  more  of  total  amount  of  bonds,  mortgages,  or  other  securities  are:  (If  there  are 
none,  so  state.)    None. 

4.  That  the  two  paragraphs  next  above,  giving  the  names  of  the  owners,  stockholders,  and 
security  holders,  if  any,  contain  not  only  the  list  of  stockholders  and  security  holders  as  they 
appear  upon  the  books  of  the  company  but  also,  in  cases  where  the  stockholder  or  security 
holder  appears  upon  the  books  of  the  company  as  trustee  or  in  any  other  fiduciary  relation,  the 
name  of  the  person  or  corporation  for  whom  such  trustee  is  acting,  is  given;  also  that  the 
said  two  paragraphs  contain  statements  embracing  affiant's  full  knowledge  and  belief  as  to  the 
circumstances  and  conditions  under  which  stockholders  and  security  holders  who  do  not  appear 
upon  the  books  of  the  company  as  trustees,  holdj  stock  and  securities  in  a  capacity  other  than 
that  of  a  bona  fide  owner;  and  this  affiant  has  no  reason  to  believe  that  any  other  person,  asso- 
ciation, or  corporation  has  any  interest  direct  or  indirect  in  the  said  stock,  bonds,  or  other 
securties  than  as  so  stated  by  him. 

5.  That  the  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed, 
through  the  mails  or  otherwise,  to  paid  subscribers  during  the  twelve  months  preceding  the 
date  shown  above  is.   (This  information  is  required  from  daily  publications  only.) 

HELEN  BOYCE.  Business  Manager 
(Signature  of  editor,  publisher,  business  manager,  or  owner.) 
Sworn  to  and  subscribed  before  me  this  30th  day  of  September,  1941. 


(Seal) 


BEATRICE  NOYES,  Notary  Public 
(My  commission  expires  April  19,  1943) 


16mm. 


(Continued  from  page  24) 

fashion  the  scale  is  being  multiplied  by  ten 
by  the  shield  placed  over  the  cell — which 
admits  only  1/10  of  the  available  light. 

With  all  this  discussion  about  the  under- 
lying facts  nothing  as  yet  has  been  said 
about  the  actual  use  of  the  meter  itself — 
and  this  is  really  what  we  are  trying  to 
get  at,  but  which  would  have  been  mean- 
ingless without  the  understanding  of  the 
above  facts.  To  aim  a  meter  in  the  general 
direction  of  the  object  we  wish  to  photo- 
graph we  get  an  average  of  all  the  light 
being  reflected  from  the  scene.  If  we  in- 
clude too  much  sky,  then  the  readings  will 
be  inflated  by  the  higher  reading  of  a  nor- 
mal sky.  (Unless  it  happens  to  be  one  of 
those  very  deep  blue  ones ) .  If  we  take  a 
reading  of  a  scene  and  point  the  meter  too 
far  down,  and  we  happen  to  have  some 
dark  colored  foreground  we  will  find  the 
resulting  exposures  too  high.  The  most  ac- 
curate method  is  to  take  a  reading  of  the 
highest  highlight,  and  then  of  the  deepest 
shadow  in  which  we  wish  to  have  detail, 
and  then  expose  for  a  point  mid-way  be- 
tween them.  Another  method  is  to  take  a 
reading  of  the  palm  of  the  hand,  with  the 
hand  perpendicular  to  the  ground.  The 
flesh  tone  is  a  neutral  color,  and  can  be 
assumed  to  represent  a  point  we  are  seek- 
ing. 

In  using  the  General  Electric  meter  with 
the  incident  light  method,  consistently  uni- 
form negatives  will  result  if  a  definite  ex- 
posure is  decided  upon,  and  then  the  lights 
adjusted  to  give  the  reading  in  foot-candles 
on  the  scale  which  is  indicated  by  the  cal- 
culator to  be  necessary  for  the  correct  ex- 
posure. 


International  Photographer  for  November,  1941 


27 


They  SAy* 


•  Sol  Polito  assigned  to  work  with  the 
great  director,  Capra.  This  is  the  first  time 
the  two  countrymen  have  worked  together. 

©  Mike  McGreal,  head  of  the  Warner  Bros, 
camera  department,  has  enlarged  various 
sections  of  the  still  department  and  has 
promoted  a  service  for  newspapers  where- 
by they  can  develop  and  print  a  negative 
in  twenty  minutes. 

•  "Buddy"  Longworth  and  Ben  Goldman 
suspected  of  hoarding  a  large  quantity  of 
"home  brew."  The  other  day  while  making 
Christmas  shots  for  one  of  the  newspapers, 
two  gross  of  gas  filled  balloons,  which 
were  part  of  the  props,  started  to  explode. 
Buddy  and  Ben  are  still  trying  to  explain 
it  wasn't  just  a  celebration  of  their  two 
years  together  at  Warner  Bros. 

•  "Scotty"  Welbourne  is  one  of  the  "glam- 
our" cameramen  in  the  industry,  having 
just  signed  a  new  contract  with  Warner 
Bros. 

•  Jack  Wood,  formerly  with  20th  Century 


By  RELLA 

Fox  now  stillman  at  Warner  Bros.  First 
assignment  to  Texas. 

•  Cards  being  issued  to  preview  eight  and 
a  half  pound  baby  boy,  son  of  Mr.  and 
Mrs.  Wally  Meinardus. 

•  Bob  Hager,  now  an  ensign  in  the  Naval 
Air  Force,  is  in  town. 

•  Fred  Anderson  with  Aircraft  Fleet  and 
Scouting  Force  writes  from  North  Island, 
California.  Enthusiastic  about  the  station 
and  his  work  but  expects  to  be  moved  soon. 

•  Irving  Smith  of  Local  644  is  a  1st  Lieu- 
tenant   in    he    Army,    at    Fort    Monmouth, 

N.  J. 

®  Richard  Seers  of  Local  644  now  in 
Washington,  D.  C.  as  a  major  in  the  army. 

®  Roy  Seawright,  Hal  Roach  Studios,  is 
councilman  and  police  commissioner  at 
Hermosa  Beach. 

9  Norman  Alley  has  returned  from  Louisi- 
ana to  his  New  York  post.  While  watch- 
ing  army   maneuvers   at   Louisiana,   Alley 


■■ 


concluded  that  our  army  would  be  second 
to  none  in  the  near  future. 

•  Mr.  and  Mrs.  Monty  Crail  introducing 
baby  son. 

•  Mr.  and  Mrs.  John  McCormick  display- 
ing new  baby  girl. 

•  Mr.  and  Mrs.  George  Russell  receiving 
congratulations  on  a  boy. 

•  The  Benjamin  Kline's  packing  up  to 
move  into  their  new  home. 

•  Franz  Planers  starting  to  build  a  new 
home. 

©  Eddie  Cronenweth  back  from  duck 
shooting  at  Bishop.  Eddie  had  nearly  a 
perfect  score — only  one  short  of  the  limit. 

•  Matt  Klucznik,  Bert  Eason,  Kyme  Mead, 
Ray  Ramsay  and  Jack  Smith  back  from  lo- 
cation in  Louisiana  where  they  have  spent 
about  six  weeks. 

•  George,  Jr.  is  the  name  of  the  new  Dis- 
kant  heir. 

•  Willard  Barth  back  from  six  weeks'  trip 
in  Canada. 

©   Eddie  Pyle's  bowling  hasn't  improved. 

•  Harold  Wellman  in  Mexico  City  with 
Floyd  Crosby. 

CLASSIFIED 

USED   STUDIO   EQUIPMENT   BARGAINS 
35MM    SOUND   FILM   RECORDER   COMPLETE   WITH 
BILATERAL  V.  A.  GALVOMETER.    OIL  DAMPED. 
VERY   FINE  RESULTS. 
DISC    RECORDER.     SCULLY    TYPE    WAX    OR   ACE- 
TATE WITH   FULL  MICROMETER  ADJUSTMENTS 
AND   A.C.    SYNCHRONOUS   MOTOR   DRIVE. 
«MM    PORTABLE    PROJECTORS,    ONE    THOUSAND 
WATT   LAMPS,   TWO   THOUSAND   FOOT   MAGA- 
ZINES   COMPLETE    WITH    AMPLIFIER,     SPEAKER 
STANDS.    IN  CASES. 

Write,  Wire  or  Phone 

CINETECH  CORPORATION 

333  W.   52nd  St.,  N.  Y.  C.  Circle  5-9741 

WANTED  TO   BUY  FOR  CASH 

CAMERAS   AND   ACCESSORIES 

MITCHELL,   B.   &  H.,   EYEMO,   DEBRIE,   AKELEY 

ALSO     LABORATORY     AND     CUTTING     ROOM 

EQUIPMENT 

CAMERA   EQUIPMENT   COMPANY 

1600  Brodawav  New  York  City 

Tel.  Circle  6-5080— Cable:  CINEQUIP 


Vhhotl  and  Costello  right  up  among  'em  during  filming  of  "Ride  'Em,  Cowboy," 
I  niversal  Production.  Reading  left  to  right,  standing  on  camera  crane:  Lou  Costello, 
Mud  Abbott,  John  Boyle,  Jack  Young,  with  Director  Arthur  I  iiliin  kneeling  (not 
often  a  director  i»  caught  in  that  position.)  Standing  in  center  on  the  ground  are 
Waller  Bluemel  and  Cil  Valle,  assistant  director.  At  top  of  right  hand  crane  are  Ed 
Cohen  and  Harold  Graham,  while  sitting  helow  are  Johnnie  Martin  and  Mark  Marlett. 
Still  by   Sherman   Clark. 


Efficient  Courteous 

Service 

■ 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 


New  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


28 


ice  about  Negative  Films 
.♦♦you'll  think  EASTMAN  both  times- ♦ 

J.  E,  Brulatour,  Inc. 

?ort£ee. . .  Chicago. . .  Hollywood 


Mr.  Arthur  Kecvcs 
1515  No.  Cahucnga 

Hollywood,  Calif. 


TEAMWORK 


ALL  three  Eastman  negative  films  con- 
tribute to  the  over-all  excellence  of 
today's  productions.  Although  they 
specialize  in  different  fields,  they  join 
forces  readily  because  of  one  impor- 
tant attribute  enjoyed  in  common — 
unvarying  high  quality.  Eastman 
Kodak  Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 

Fort  Lee  Chicago  Hollywood 


PLUS-X 

for  general  studio  use 


SUPER-XX 

when  little  light  is  arailable 


BACKGROUND-X 

for  baehgrounds  and  general  exterior  trork 

EASTMAN  NEGATIVE  FILMS 


DecEivibER,  1941 


25  CENTS 


INN    SHPRiniM 


PHOTO  PASTEL  BY  BERT  LONGWORTH 


All    that    the    name   implies 


Superior  negatives  long  have  been  noted  for  their  dependable 
uniformity,  their  wide  exposure  latitude,  their  marked  capacity 
for  recording  shadow  detail.     In  selecting  the  stock  for  your 
next  assignment,  we  invite  you  to  investigate:— 
SUPERIOR- I         SUPERIOR-2         SUPERIOR-3 


Type  104,   a    film  with 

a    very  fine     grain    size, 

a     high  resolving     power 

and     a  moderate     speed. 


Type  126,  a  negative 
uniting  high  speed  and 
fineness  of  grain  in  a 
most    successful    manner. 


Type  127,  a  stock  offer- 
ing extreme  sensitivity, 
yet  practically  normal  in 
every     other     respect. 


DU  PONT  FILM  MANUFACTURING  CORPORATION,  NEW  YORK,  N.  Y. 
SMITH  e>  ALLER,  LTD.,  HOLLYWOOD,  CALIF. 


BETTER  THINGS  for  BETTER  LIVING   through  CHEMISTRY 


Vol.  XIII 


International 
phoToqRAphER 

December,  1941 
LEADING  ARTICLES  IN  THIS  ISSUE 


No.    11 


-Page  3 


Ducks  and  Geese,  Unlimited,  Sinkey- 

Coated  Lenses,  Miller — Page  12 

First  Pictures  Inside  B-19,  Greenwald — Pages  13,  14,  15 

Yours  Truly,  Norman  Alley — Page  17 


PICTORIAL  FEATURES 


Ann  Sheridan,  Lacy — Page  5 
"Louisiana  Purchase,"  Morrison  and  Bulloch 
Forms  and  Faces,  Freulich — Pages  10,  11 
Set  from  "Fiesta",  Graves — Page  27 


-Pages  6,  7 


REGULAR  DEPARTMENTS 


16  mm  Department — Page  20 
Patents,  Ful wider — Page  21 
Tradewinds — Page  22 
Television — Page  26 
They  Say,  Rella—Fage  28 


Editor,  Herbert  Allek 

Business  Manager,  Helen  Boyce.    Art  Editor,  John  Corydon  Hill. 
Contributing  Editors:  D.  K.  Allison,  George  Hurrell,  J.  N.  A.  Hawkins,  Roman 

Freulich,  Ernest  Bachrach,  Alvin  Wyckoff,  William  V.  Draper,  Fred  Gately, 

George  Scheibe. 
Copyright,  1941,  by  Local  659,  International  Alliance  of  Theatrical  Stage  Employees 

and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada. 

Entered  as  Second  Class  matter,  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Cali- 
fornia, under  the  Act  of  March  3,  1879. 

International  Photographer,  as  the  monthly  official  publication  of  International  Pho- 
tographers, Local  659,  of  the  International  Alliance  of  Theatrical  Stage  Employees 
and  Moving  Picture  Machine  Operators  of  the  United  States  and  Canada,  not  only 
represents  the  entire  personnel  of  photographers  engaged  in  professional  produc- 
tion of  motion  pictures  in  the  United  States  and  Canada,  but  also  serves  technicians 
in  the  studios  and  theatres,  who  are  members  of  the  International  Alliance,  as  well 
as  executives  and  creative  artists  of  the  production  community  and  executives  and 
engineers  of  the  manufacturing  organizations  serving  the  motion  picture  industry. 
International  Photographer  assumes  no  responsibility  for  the  return  of  un- 
solicited manuscripts  or  material. 

Subscription  Rates:  U.S.A.,  $2.50;  Canada-Foreign,  $3.00  per  year.  Single  Copy,  25  cents. 
Australian  Representative:  McGill's  News  Agency,  Melbourne. 

Office  of  Publication:  6461  Sunset  Blvd.    (Los  Angeles  P.  O.),  Hollywood,  California 

Telephone:  Hillside  9189 
Publication  Date:  5th  of  Each  Month 


BROWN-CALDWEll 


Efficient  Courteous 

Service 

■ 

EVERYTHING 
PHOTOGRAPHIC 

Professional  and  Amateur 

■ 

New  and  Used  Equipment 
Bought,    Sold    and    Rented 

m 

ART  REEVES 

Camera  Supply  Co. 

1515  North  Cahuenga   Boulevard 
HOLLYWOOD  CALIFORNIA 

Cable  Address:  "CAMERAS" 


Forestry  Photo  Contest 

Preparing  in  advance  for  a  long  range 
campaign  to  save  Southern  California's  for- 
ests from  fire,  the  Los  Angeles  Chamber  of 
Commerce  and  the  Conservation  Associa- 
tion of  Southern  California  today  an- 
nounced a  photographic  contest  on  forestry 
subjects  with  a  total  of  $50  cash  prizes. 

"We  need  pictures  of  camping,  fishing 
and  other  forms  of  outdoor  recreation  for 
use  in  illustrating  the  material  to  be  used 
in  next  summer's  campaign,"  W.  S.  Rose- 
crans,  Chamber  conservation  chairman  and 
president  of  the  Conservation  Association, 
announced. 

"First  prize  will  be  $25.  Second  prize 
will  be  $10.  There  will  be  three  $5  prizes. 
Here  is  a  chance  to  win  a  cash  prize  and 
at  the  same  time  contribute  to  a  campaign 
in  which  every  recreationist  is  interested — 
protection  from  fire  of  our  great  out-of- 
doors." 

Contest  rules  are: 

Contest  is  open  to  all. 

Photographs  must  be  not  less  than  post- 
card size,  preferably  eight  by  ten  inches. 

Photographs  must  be  on  paper  with 
glossy  finish. 

Photographer's  name  and  address  must 
be  on  back  of  each  picture. 

Contestants  may  submit  any  number  of 
pictures. 

Negatives  of  prize-winning  pictures  must 
be  furnished  to  the  sponsor. 

All  photographs  entered  in  the  contest 
will  become  the  property  of  the  Los  An- 
geles Chamber  of  Commerce. 

Photographs  should  be  sent  to  George 
Cecil,  Los  Angeles  Chamber  of  Commerce. 


International  Photographer  for  December,  1941 


Wilma 


By  William  Mortensen 


In  a  unique  experimental  attempt,  William  Mortensen  will  do  a  series  of  pictures  appearing  on  this  page ^  all  wnh    he  same  model    lovely 
sevent.-n-y.-ar  old    Wilma.     She   is  a   Sail    Lake  City  girl  who  is  being  groomed  at   the   Mortensen  School  of  Photography.    In  this  series  Mr    Mor 
ens',   will  depi   ,  such  types  as  an  aged  oriental  philosopher,  a  buxom   Polish    feasant,    a    eonniving    Span.sh    courtesan,    a    modern    sophisticated 

oollodian,  various  COStume   elements,   props,  and   the   illusion   of   Light   to  create  tins  effect.     FhlS  IS  the  first  of  the  ser.es. 


ducks  Aisd  qEESE^^UNlJMJTEd 


By  Chalmer  D.  Sinkey 


Wild  Geese  versus  Wild  Newsreel 
Camerainen 

Well,  anyhow, — this  is  a  story  of  a 
Happy  Hunting  Ground — a  ground  that 
stretches  through  a  great  valley  of  ancient, 
crumbling  lava. 

According  to  geologists, — the  ground 
was  here  ages  ago, — 'way  back  through 
those  eons  of  time  that  preceded  our  most 
ancient  written  history. 

Later  on, — migrations  of  wild  ducks  and 
geese  got  themselves  organized  and  made 
the  same  long  journies  from  North  to 
South  and  vice  versa, — that  they  are  mak- 
ing today.  In  the  course  of  their  ancient 
migrations  they  paused  at  this  valley  for  a 
stop-over.  In  fact,  this  valley  was  a  major 
resting  spot  on  one  of  the  four  major  flight 
lanes  of  the  earth's  migratory  birds. 

In  those  days  the  valley  was  a  huge,  ex- 
pansive lake,  alreadv  settled  and  fringed 
with  tulies,  while  surrounding  volcanoes 
were  spouting  red  lava  and  mountain 
ranges  were  being   pushed   into   being. 

Of  course  no  one  that  we  know  of  was 
on  hand  to  record  the  events,  but  we  sur- 
mise that  Tule  Lake  must  have  been  a  very 
enticing  spot  for  after  all  of  these 
centuries  the  geese  and  ducks  have  never 
wavered  from  their  estahlished  rendezvous. 

When  the  tang  of  fall  is  in  the  air  they 
descend  upon  the  Happy  Hunting  Ground 
like  swarms  of  insects  on   a  gusty  breeze. 

All  of  which  proves  that  a  goose  is  a 
persistant  fellow  else  the  changes  that  time 
has  brought  to  Tule  Lake,  would  surely 
have  made  him  change  his  itinerary  long 
ere  this. 

In  the  first  place,  along  about  the  time 
that  the  volcanoes  were  nicely  calmed 
down  and  the  earth  took  on  a  habitable 
form,  a  mysterious  tribe  evolved  from 
somewhere.  They  pitched  their  dwellings 
on  the  shores  of  ancient  Tule  Lake  and 
left  a  rich  store  of  relics  to  challenge  our 
imaginations. 

Well  covered  by  the  shifting  dust,  are 
stone  pestals  and  mortars  that  once  ground 
grain.  Clean-cut  obsidian  arrow  heads  are 
sprinkled  throughout  the  valley;  crude,  un- 
deciphered  picture  writing  makes  wierd 
murals  on  the  rotting  lava  walls,  and  for- 
gotten burial  grounds  are  unearthed  as  the 
sands  travel  imperceptibly  to  and  fro  in 
their  painstaking  cycles  of  erosion. 

Just  as  mysteriously  as  they  came,  these 
people  disappeared,  and  we  presume  that 
a  few  more  ages  passed  by. 

Later,  when  the  white  man  pushed  his 
way  westward,  stopping  at  the  tule-fringed 
lake,  he  found  it  peopled  with  redskins, 
who  were  destined  to  be  well  known  on 
the  pages  of  our  written  history  as  the 
Modocs. 

Long   and   furious   were  the   battles   be- 


tween the  pioneers  and  the  trihesmen,  but 
when  the  smoke  of  battle  rolled  away,  the 
Happy  Hunting  Ground  was  lost  to  the 
Redman. 

Then  came  the  greatest  blow  of  all  to 
migratory  flocks.  The  Happy  Valley  did 
not  suit  the  white  man,  so  he  set  about 
to  change  it. 

He  set  into  motion  the  wheels  of  a  great 
reclamation  project  and  the  vast,  shallow 
lake,  once  a  wealth  of  marsh-food,  was 
drained  into  miles  of  pungent,  dusty  waste. 
A  small  section  of  the  water  was  left  diked 
up  in  the  center  of  the  area,  eventuallv  to 
irrigate  diese  same  wastes. 

Finally,  cabins  of  settlers  dotted  the  des- 
ert-like reaches,  and  with  the  settlers  came 
a  miracle;  a  miracle  that  converted  the 
barren  ground  into  wheat-fields,  unbeliev- 
ably  rich  wheatfields  that  yielded  between 
40  to  60  bushels  of  grain  per  acre. 

Now,  the  Happy  Hunting  Ground  must 
have  looked  strange  to  the  migrating  hordes 
of  birds,  with  automobiles  racing  across 
countless  miles  of  tumble-weeded  dikes,  and 
guns  and  dogs  booming  at  them  when  they 
settled  down  to  find  themselves  some  food. 
Yet  the  ducks  and  geese  have  never  wav- 
ered, and  because  they  still  come  like  chaff 
from  the  sky,  the  U.  S.  Government  has 
taken  a  hand  to  protect  them. 

Under  jurisdiction  of  the  Biological 
Survev  ( now  known  as  the  Bureau  of  Fish 
and  Wild  Life)  a  large  game  refuge  is 
maintained  in  the  heart  of  the  ancient 
valley. 

Here  they  build  artificial  nesting 
grounds,  guard  against  poachers,  care  for 
sick  birds  and  plant  food  that  will  help 
them  to  exist. 

Then,  once  each  year,  at  shooting  sea- 
son, the  refuge  is  thrown  open  to  hunters. 

The  spot  has  become  a  mecca  for  nim- 
rods.  Thousands  of  them  gather  for  the 
opening  day,  and  few  leave  without  their 
full  bag  limits  of  birds. 

All  of  which  brings  us  to  the  newsreel 
cameramen. 

"An  intriguing  thought."  thinks  the  edi- 
tor, "is  the  sight  of  hordes  of  migratory 
wild  fowl  darkening  the  sky,  literally  blot- 
ting out  the  landscape." 

But  a  wild  task  indeed,  is  the  capturing 
of  this   picture  on    film. 

This  is  where  the  wild  cameramen  come 
in  versus  the  wild  geese. 

Suffice  it  to  say,  that  while  the  birds 
are  there,  you  do  not  merely  run  out.  point 
your  camera  here  and  there  and  call  it  a 
day. 

There  are  various  and  sundry  problems, 
such  as:  What  film  to  use?  How  to  allow 
for  the  grey,  crumbling  landscape  and  yet 
do  justice  to  the  brilliant  sky  that  seems 
eternally  filtered  by  a  blanket  of  dust? 

Other  inconveniences  are  a  lack  of  safe 


- 


•  -*■    I 


Movietone's  cameraman  moves  in 
for  a  close-up, —  but  finds  to  his 
dismay   that   his  goose  is  a  pelican. 


drinking  water, — no  accommodations  at  the 
local  hotels  which  are  all  booked  up  by 
hunters. 

The  geese  themselves  are  downright  in- 
considerate. They  fly  when  you  are  not 
expecting  them  to,  and  fail  to  fly  when 
you  do. 

If  you  sneak  upon  them  at  their  feed- 
ing spots,  they  have  wise  old  sentinels  that 
do  nothing  but  watch  you,  and  the  minute 
they  calculate  that  your  camera  is  in  range, 
— WHOOF!   they  are  off  like  a  swarm  of 

bees. 

In  the  heat  of  the  day,  they  swim  plac- 
idly on  the  water,  masses  of  them  that 
look  like  a  mammoth  oriental  rug, — but, 
they  manage  to  keep  just  out  of  range  of 
your  best  lenses,  and  no  amount  of  yelling, 
nor  gesticulating  will  stir  them  into  flight 
until  they  are  ready  to  take  off. 

After  traipsing  along  nettle-strewn  dikes 
all  day,  reconnoitering  for  good  "angles" 
you  dream  about  them  all  night,  and  lay 
awake  to  think  up  ways  and  means  of  out- 
witting a  wild  goose. 

The  most  tantalizing  scene  of  all  comes 


International  Photographer  for  December,  1941 


^ 


f-.i'Sstii'viiWtiWtWwte  ~- 


On  the  dusty  fields  that  adjoin  Tu!e 
Lake,  flocks  of  ducks  and  geese 
settle  like  chaff  from  the  sky. 

just  before  the  dawn,  and  just  after  the 
good  light  has  vanished  in  the  evening. 
Then  the  sky  looks  like  an  aerial  four- 
ringed  circus.  V's  and  W's, — squadrons 
and  regiments  of  the  birds  wheel  by,  en- 
route  from  the  water  to  adjacent  feeding 
grounds.  The  sound  of  their  plaintive  chat- 
ter can  be  heard  for  miles,  but  no  film  is 
fast  enough  to  capture  all  of  this  at  its 
best. 

Baffled  at  some  places,  you  are  determ- 
ined to  find  other  ways  and  means  of  get- 
ting the  unbelievable  story  on  film. 

You  drive  your  car  frantically  over  the 
wheatfields.  along  bumpy  dikes,  with  cam- 
era poised,  and  one  foot  ready  to  leap 
out  at  the  right  photogenic  moment.  You 
crawl  on  vour  stomach,  whiffing  aromatic 
decaying  dirt  that  was  once  part  of  the 
lakebed,   curious  insects  wonder   what  it's 


On  the  small  patch  of  water,  left 
from  the  once  vast  shallow  lake, 
dogs  get  a  good  workout  on  the 
opening  day. 

all  about  and  play  "flying  trapeze"  down 
your  neck,  but  you  grin  and  bear  it,  lest 
the  birds  find  out  that  you  are  there  and 
take  off  before  your  "shot"  is  ready. 

Eventually  though,  if  you  are  using  just 
the  right  background  film  to  bring  out  the 
cloud  effects,  and  if  your  patience  holds 
out,  you  are  apt  to  get  a  story  that  is  a 
knockout. 

For  there  ARE  ducks  and  geese  unlim- 
ited at  the  Happy  Hunting  Ground.  Sooner 
or  later,  you  are  bound  to  get  just  as  wild 
and  canny  as  the  birds,  but  before  you 
leave,  you  will  get  a  picture, — a  thrilling, 
unbelievable  picture  of  a  rendezvous  that 
has  survived  the  ages. 


Thousands  of  hunters  come  to  Tu!e 
Lake  for  the  shooting  season,  but 
few  ever  leave  without  their  bag 
limits. 


Kodak's  Film  "Aluminum"  Tells 
Story  of  Important  Metal 

Presenting  the  story  of  a  vitally  import- 
ant metal,  Eastman  Kodak  Company  an- 
nounces a  new  16-mm.  silent  film  titled 
"Aluminum."  Shown  are  underground  and 
open  pit  mining  methods,  and  preliminary 
processing  at  the  ore  mill.  The  production 
of  aluminum  ox'de.  Reduction  of  the  oxide 
bv  the  electrolytic  method.  Casting.  Fabri- 
cation of  aluminum  wire  and  cable.  The 
rolling  mill  and  the  manufacture  of  kitchen 
utensils  bv  stamping  and  soinning.  Forg- 
ing an  airplane  propeller  blade.  Various 
uses  of  aluminum  in  industry  and  home. 
"Aluminum"  lone-reel,  400-ft. )  is  imme- 
diately available  from  Teaching  Films  Di- 
vision, Eastman  Kodak  Company,  Roches- 
ter, N.  Y. 


Ann  Sheridan 


Portraits  by  Madison  Lacy,  Warner  Bros. 


International  Photographer  for  December,  1941 


Vera  Zorina  in  "Louisiana  Purchase,"  Paramount  Production. 


Stills  by  Malcolm  Bulloch. 


Stills  by  Talmage  H.  Morrison 


"LouisiANA 
Purchase" 


One  of  the  most  successful  musical  com- 
edies ever  to  reach  Broadway,  "Lousiana 
Purchase"  grossed  $1,679,000  during  fifty- 
eight  weeks  on  the  stage  before  Paramount 
brought  six  members  of  its  cast  to  Holly- 
wood to  join  Bob  Hope  in  the  Technicolor 
picturization  of  the  show. 

The  six  are  Victor  Moore,  who  repeats 
his  inimitable  characterization  of  Senator 
Oliver  P.  Loganberry;  Vera  Zorina,  ballet 
and  dramatic  star,  seen  as  immigree  Ma- 
rine Von  Duren;  Irene  Bordoni.  French 
comedienne  who  makes  her  first  return  to 
films  in  twelve  years  as  Mme.  Bordelaise: 
Charles  Le  Torre,  the  head  waiter;  Charles 
Lasky.  Zorina's  dancing  partner,  and 
Lynda  Grey,  one  of  the  front-line  show- 
girls. 

Incidentally,  "Lousiana  Purchase"  has 
no  connection  with  the  deal  whereby  Thom- 
as Jefferson  paid  Napolean  Bonaparte  $15,- 
000,000  for  the  Lousiana  territory  back  in 
1803.  It  is  a  strictly  modern  comedy  deal- 
ing with  the  second  "purchase" — the  sell- 
out to  a  bunch  of  political  tricksters.  And 
the  "Lousiana"  and  "New  Orleans"  men- 
tioned in  the  script  are  a  "mythical"  state 
and  city,  as  the  prologue  carefully  ex- 
plains. 

Of  three  B.  G.  De  Sylva  hits  on  Broad- 
way, the  other  two  being  "Panama  Hattie"" 
and  "Du  Barry  Was  a  Lady,"  this  was  the 
one  he  most  desired  to  bring  personally 
to  the  screen.  The  original  story  idea  is 
his  own.  Only  major  changes  between  the 
stage  and  screen  versions  involved  making 
Hope,  as  Jim  Taylor,  a  State  Representa- 
tive instead  of  a  private  citizen,  permit- 
ting a  Senate  filibuster  sequence  as  a  cli- 
max, which  is  packed  with  the  typical  Hope 
brand  of  humor. 

The  Victor  Moore  role  as  Secretary  Lo- 
ganberry represents  the  first  opportunity 
he  has  enjoyed  to  play  in  motion  pictures, 
the  type  of  character  for  which  he  has 
been  a  by-word  on  Broadwav.  Though 
"Make  Way  for  Tomorrow"  afforded  him 
a  memorable  dramatic  part,  it  revealed 
his  versatility  rather  than  his  stage  per- 
sonality. "This,"  wisecracked  Victor,  "is 
my  last  attempt  to  make  good  in  Holly- 
wood." That  he  succeeded  is  indicated  by 
the  fact  that  Paramount  has  a  commitment 
with  him  for  another  picture  next  year. 

So  successful  was  Zorina  in  the  feminine 
lead  opposite  Hope,  that  she  has  been 
signed  for  a  straight  dramatic  role  oppo- 
site Ray  Milland,  "The  Hour  Before 
Dawn,"  the  Somerset  Maughan  story  to  be 
produced  by  Paramount  this  season. 

To  find  the  girls,  more  than  800  tests 
were  conducted,  and  the  final  selections 
represent  the  cream  of  the  crop  throughout 


International  Photographer  for  December,  1941 


the  country.  Beauty  ot  lace  and  hgure. 
song  and  dance  talent  and  ability  to  pass 
Technicolor  tests  were  all  taken  into  con- 
sideration. Four  girls,  Margaret  Hayes, 
Eleanor  Stewart,  Barbara  Britton  and  Kath- 
arine Booth,  were  taken  from  the  studio 
contract  list.  Two,  Lynda  Grey  and  Blanche 
Grady,  were  New  York  showgirls  and 
models.  Two,  Jean  Wallace  and  Barbara 
Slater,  had  had  no  previous  theatrical  or 
modeling  experience.  The  others.  Kay  Ald- 
ridge,  Alaine  Brandes.  Brooke  Evans  and 
Louise  La  Planche,  were  former  models, 
this  experience  being  particularly  valuable 
in  the  fashion  show  sequence. 

Costumes  and  sets  were  designed  in  color 
by  Raul  Pene  Du  Bois,  the  sets  especially 
representing  a  departure  in  color  schemes 
in  that  they  parallel,  in  chromatic  progres- 
sion, the  dramatic  action  of  the  story.  The 
picture  opens  in  grays,  as  though  it  were 
being  shot  in  black  and  white.  The  first 
note  of  color  seen  is  the  red  hair  of  the 
secretary  in  the  lawyer's  office.  From  reds 
and  browns  through  greens,  then  blues 
and  golds,  the  hues  become  more  vivid 
until  they  are  a  rainbow  riot  in  the  Mardi 
Gras   and    Beaux   Arts   Ball   sequences. 

The  floats  in  the  Mardi  Gras  parade  rep- 
resent a  similar  grouping  of  color  for  dra- 
matic effect.  The  floats  themselves  are  de- 
signed as  the  pirate  ship  of  Lafitte,  a  dais 
on  which  Napoleon  signs  the  original  Loui- 
siana Purchase  with  Jefferson  standing  by, 
a  plantation  float  of  Creole  davs  and  the 
Rex  float  on  which  Hope  rides  as  king. 

In  addition  to  his  singing,  Hope  dances, 


accompanied  by  a  band  of  negro  young- 
sters, for  the  first  time  since  he  was  a 
vaudeville  hoofer.  And,  as  usual,  he  loses 
most  of  his  wardrobe  during  the  Beaux 
Arts  Ball.  It  wouldn't  be  a  Hope  picture 
unless  he  lost  his  pants  in  it  somewhere. 
The  dance  was  one  of  the  final  scenes 
photographed,  due  to  the  fact  that  Bob 
originally  reported  to  work  with  a  first- 
class  sunburn  on  his  legs,  the  result  of 
falling  asleep  on  a  sun  porch  at  Malibu. 

Director  Irving  Cummings'  return  to  the 
Paramount  lot  was  his  first  in  twenty-five 
years.  On  his  previous  visit  he  was  one  of 
the  principals  in  "Rupert  of  Hentzau." 
Upon  completion  of  "Lousiana  Purchase," 
cast  and  crew  presented  him  with  a  two- 
foot-high  figure  of  a  jocky  in  the  Cum- 
foot-high  figure  of  a  jockey  in  the  Cum- 
mings colors,  which  he  took  with  him  as 
tracks. 

Vera  Zorina 

Vera  Zorina  was  born  in  Berlin,  Janu- 
ary 2,  1917,  of  German-Norwegian  parent- 
age, and  christened  Brigitta  Hartwig.  Her 
mother,  Billi  Wimpelmann.  who  hailed 
from  Kristiansund,  Norway,  had  studied 
voice  in  Oslo  and  Berlin,  meeting  in  the 
latter  city  a  young  singer,  Fritz  Hartwig, 
whom  she  married,  relinquishing  her  own 
career. 

Their  daughter's  childhood  was  entirely 
musical,  but  music  to  Brigitta  was  for 
dancing.  At  the  age  of  eight  she  gave  her 
own  recital  in  Oslo,  having  composed  every 


Looks  like  serious  business  from  the  expressions  of  Marlcne  Dietrich,  Fred  Mae- 
Murray  and  Mill-lull  Leisen,  producer-director.  On  the  contrary  it  is  Miss  Dietrich's 
first  fling  into  hariinirscarum  comedy  in  the  Columbia  picture,  "The  Lady  is  Will- 
ing." Still  hy   Irving  Lippman. 


dance  number  herself.  When  the  long 
awaited  ninth  birthday  occurred  she  was 
enrolled  in  the  ballet  school  in  Berlin, 
where,  under  the  tutelage  of  Eugenie  Eudo- 
rova,  Brigitta  learned  the  difficult  tech- 
nique of  the  ballet  and  its  wearying  exer- 
cises. 

In  1929  her  mother  took  her  to  Paris  to 
continue  her  studies  under  Nicholas  Legat, 
whose  pupils  at  one  time  included  Pav- 
lowa  and  Nijinsky.  A  severe  illness  caused 
the  Hartwigs  to  return  to  Berlin  to  re- 
cuperate, where  a  little  later  Brigitta  was 
engaged  by  Max  Reinhardt  as  the  First 
Fairy  in  "Midsummer  Night's  Dream." 
This  engagement  lasted  four  months,  at  the 
end  of  which  Brigitta  went  to  London  for 
six  months'  training  with  Anton  Dolin, 
after  which  she  danced  with  him  at  Gros- 
venor  House. 

Back  in  Berlin  the  15-year-old  girl  re- 
joined the  Reinhardt  troupe  in  "Tales  of 
Hoffman''  and  resumed  her  study  under 
Gsovsky.  Her  next  engagement  was  with 
a  traveling  ballet  company  which  visited 
Vienna,  Budapest  and  Denmark,  where  she 
received  a  cable  from  Dolin  asking  her  to 
join  him  in  the  show  "Ballerina."  It  was 
there  that  she  scored  her  first  real  success. 
During  the  five-month  run  of  the  show,  she 
and  Dolin  also  filled  a  three-week  engage- 
ment at  Ciro's  in  London. 

She  next  entered  the  Russian  Ballet  as 
a  ballerina  instead  of  following  the  usual 
routine  of  making  her  start  through  the 
corps  de  ballet.  The  Ballet  was  playing  at 
Covent  Garden  and  it  was  here  that  Bri- 
gitta Hartwig  became  Vera  Zorina,  it  be- 
ing the  tradition  of  the  Ballet  that  every 
member  should  have  a  Russian  name. 

Zorina  and  her  mother  came  to  America 
for  the  first  time  in  1934  and  during  the 
two  following  seasons  Zorina  toured  the 
United  States,  Canada  and  South  America 
with  the  Ballet  Russe.  She  was  carried  as 
a  lesser  number  of  the  cast,  but  more  and 
more  compelled  the  attention  of  audiences 
and  critics.  It  was  while  with  the  Ballet 
Russe  that  she  turned  a  deaf  ear  to  her 
first  film  offer,  wishing  to  attain  stardom 
first  in  the  ballet. 

In  London,  in  1936,  Zorina  met  Dwight 
Deere  Wiman,  about  to  open  a  London 
company  of  "On  Your  Toes."  Two  years 
later,  in  1938,  she  was  about  to  become 
his  wife.  Despite  her  lack  of  experience 
in  speaking  dialogue,  Zorina  was  signed 
to  a  contract  immediately. 

Again  came  film  offers.  She  made  her 
camera  debut  in  "Goldwyn  Follies."  Her 
great  triumph  came  on  Broadway  in  the 
B.  D.  De  Sylva  musical  hit,  "Louisiana 
Purchase."  She  was  hailed  anew  as  one 
of  the  brightest  dancing  stars  New  York 
has  ever  seen.  When  Paramount  pur- 
chased the  film  rights  for  a  Technicolor 
production,  Zorina  was  the  inevitable 
choice  to  recreate  her  role  of  Mariana  von 
Duren.  Her  real  screen  career,  she  hopes, 
will  begin  with  that  picture,  which  offers 
the  ideal  outlet  for  all  her  talents. 


« 


International  Photographer  for  December,  1941 


I  pper  left,  Anne  Gwynne,  featured  in  Universal's  "Ride  'Em  Cowboy."  The  other 
picture*  are  Marie  McDonald,  who  has  just  completed  her  first  film  role  in  "It  Started 
With  Eve." 


JO 


Stills  by  Roman  Freulich,  Universal  Studios 


Forms 
ancJ  Faces 

The  stills  here  and  on  the  facing 
page  show  how  a  cameraman  creates 
situations  best  to  express  a  future 
star's  appeal. 


Susan  Miller,  latest  of  Hollywood's 
"Cinderella  girls."  While  appearing 
in  a  Hollywood  night  cluh  she  was 
"spotted"  by  Universal  talent  scouts, 
who  signed  her  for  the  picture, 
"Swing  It,  Soldier."  Her  work  so 
impressed  the  studio  that  she  was 
placed  under  long-term  contract 
and  right  now  she  is  playing  the 
feminine  lead  in  the  new  W.  C. 
Fields   comedy,   "The   Great   Man." 


Maria   Montez  as  Melahi   in 
of   Tahiti." 


'South 


Evelyn  Ankers,  Universal^  shapely 
English  importation  featured  in 
"Half  Way  to  Shanghai,"  makes  an 
attractive  sun  maid  at  a  Hollywood 
pool. 


GOERZ 


KINO-HYPAR 
LF.NSES 

I       f:2.7  and  f:3 

(  for  regular  and  color 
•  movies  of  surprising 
;      quality.   High  chromatic 

correction  . . . 

Focal  lengths   I  5mm  to  100  mm — can  be  fitted 

in    suitable    focusing    mounts    to    Amateur    and 

Professional  Movie  Cameras. 


i 


COERZ   Reflex   FOCUSER 

—  Patented  — 
for  16mm  Movie  Camera  users — voids  PARAL- 
LAX between  finder  and  lens — provides  full- 
size  ground-glass  image  magnified  10  times. 
Adaptable  to  lenses  3"  and  up.  Also  useful  as 
extension  tube  for  shorter  focus  lenses  for 
close-ups.  Extensively  used  in  shooting  surgical 
operations,  small  animal  life,  etc. 


i 

I 

I    COERZ    Parallax-Free   FOCUSER 
and    FIELD    FINDER    CONTROL 

for  Filmo   121    and  Simplex-Pockette,   no   more 
off-center  pictures,  magnifies  4  and  8x. 
For  Detailed   Information    Address 
3  Depl.  IP  12 

■    C.  P.  Coerz  American  Optical  Co. 

317   East  34th  St.,   New  York  ( 

American    Lens    Makers    Since    1899 


International  Photographer  for  December,  1941 


11 


coatecI  Lenses 


Reprinted  from  the  Journal  of  the  Society 
of  Motion  Picture  Engineers,  September, 
1941,  page  265. 


RECENT    IMPROVEMENTS    IN 

NON-REFLECTIVE  LENS  COATING 

By  William  C.  Miller 

Summary. — As  early  as  1892  it  was  known 
that  the  reflectivity  of  polished  glass  surfaces 
lias  reduced  and  the  light  transmission  increased 
when  a  suitable  film  teas  present  on  the  surface 
of  the  glass.  Many  efforts  to  produce  such  a  film 
artificially  met  with  only  partial  success.  In  the 
past  five  years,  two  different  methods  have  been 
discovered  that  achieve  the  desired  results.  Only 
one  of  the  processes,  however,  was  satisfactory 
for  commercial  application.  Great  improvements 
have  been  made  in  the  durability  and  weather 
resistance  of  the  thin  films  deposited  upon  the 
lens  surface  by  this  method.  Lenses  coated  by 
this  improved  process  require  no  more  careful 
handling  than  any  good  lens  is  entitled  to; 
fingerprints  and  dust  can  be  removed  without 
detrimental  effects  to  the  coating.  The  thin  films 
can  not  be  scratched  with  anything  less  hard 
than  a  metal  point.  By  this  process,  reflectivity 
can  be  reduced  from  an  average  of  5  per  cent 
for  untreated  polished  surfaces  to  as  low  as  0.5 
per  cent  for  treated  ones.  Experiments  show  thai 
even  greater  reductions  are  possible  and  should 
be  available  in  the  near  future. 

The  general  application  of  the  lens-coat- 
ing process  to  studio  optical  equipment  is 
now  just  one  year  old.  In  view  of  the  wide 
interest  and  attention  that  this  process  has 
aroused,  a  discussion  of  the  results  and  a 
report  of  the  improvements  made  in  the 
process  will  be  of  interest.  Unfortunately, 
time  has  not  permitted  the  accumulation  of 
exhaustive  data.  However,  those  that  are 
available  show  that  the  new  process  is  of 
vital  importance  in  many  fields  and  is  al- 
ready quite  indispensable. 
HISTORICAL 

Although  it  had  been  known  for  many 
years  that  certain  types  of  glass  developed 
a  tarnish  after  prolonged  exposure  to  the 
air.   it  apparently  was  not  until  1892  that 


any  careful  study  of  the  effects  of  such 
tarnish  was  made.  At  that  time  H.  Dennis 
Taylor,  famous  lens  designer,  made  care- 
ful measurements  upon  several  tarnished 
lenses  that  had  come  to  his  attention.  The 
tarnish  had  the  appearance  of  a  metallic 
sheen  and  had  always  been  considered  to 
be  highly  detrimental.  The  results  of  Tay- 
lor's measurements  and  tests,  however, 
showed  that  the  tarnished  lenses  reflected 
less  light  from  their  polished  surfaces  than 
did  identical  new  ones.  This  of  itself  was 
of  great  importance,  but  of  still  greater 
importance  was  the  fact  that  the  light  that 
was  no  longer  reflected  by  the  polished  sur- 
faces was  transmitted  by  the  lenses.  The 
tarnished  lenses  produced  images  measur- 
ably brighter  than  did  identical  new  and 
untarnished  lenses. 

Taylor  was  so  impressed  with  the  poten- 
tialities of  the  discovery  that  he  made  ex- 
tensive experiments  to  find  means  of  pro- 
ducing this  tarnish  artificially  on  the  sur- 
faces of  new  lens  elements.  Unfortunately 
he  met  with  only  partial  success,  for  the 
types  of  glass  that  he  was  able  to  treat 
proved  to  be  limited.  Furthermore,  the  re- 
duction in  reflectivity  obtainable  with  many 
of  the  glasses  was  too  slight  to  be  of  com- 
mercial value. 

Many  efforts  were  made  in  subsequent 
years  to  discover  methods  of  artificially 
producing  the  desired  results,  but  with  only 
moderate  success.  Kollmorgen,  Kellner, 
Wright,  and  Ferguson  all  made  contribu- 
tions to  the  art,  but  certain  types  of  glass 
resisted  all  attempts  to  produce  a  tarnish 
of  the  desired  nature. 

All  the  processes  developed  up  to  that 
time  were  of  the  chemical   type;   that   is, 


they  depended  upon  the  action  of  chemical 
solutions  or  concentrated  salts  upon  the 
surface  of  the  glass  to  produce  the  desired 
tarnish.  Since  this  reaction  took  place  with 
the  glass  itself,  it  was  impossible  to  remove 
the  effects  of  the  treatment  without  com- 
pletely refinishing  the  optical  surface,  a 
costly  and  time-consuming  procedure.  The 
greatest  care  was  therefore  necessary  in  the 
treatment  of  optical  elements  to  insure 
satisfactory  results,  since  an  error  meant 
refinishing  the  surface  or  making  a  new 
element.  This  treatment  could  not  be  safely 
attempted  by  anyone  other  than  the  makers 
of  the  original  optical  parts. 

Since  many  varieties  of  glass  are  em- 
ployed in  the  lenses  in  common  use,  and 
many  of  these  glasses  either  could  not  be 
treated  at  all  or  could  be  treated  with  only 
moderate  success,  the  application  of  the 
process  was  not  widespread. 

What  was  required  to  make  the  theory 
universally  practical  and  applicable  was  a 
method  of  producing  the  tarnish  upon  lens 
surface  irrespective  of  the  type  of  glass 
from  which  the  lenses  were  made  and 
would  yield  reductions  in  reflectivity  suffi- 
ciently great  to  justify  the  trouble  and  ex- 
pense of  application. 

In  view  of  the  many  years  that  elapsed 
with  little  or  no  successful  development  of 
the  art,  it  is  remarkable  that  two  independ- 
ent processes  of  quite  a  different  nature 
should  be  announced  within  the  short  pe- 
riod of  three  years.  The  first  announce- 
ment came  in  1936  of  a  process  discovered 
by  Dr.  John  Strong1  of  the  California  In- 
stitute of  Technology.  Strong's  process  con- 
sisted of  the  deposition  of  a  thin  film  of 
(Continued  on  Page  16) 


lrj'^1. 

1/   ■   -     ^§>T 

JL       $&'  \  < 

Vr       #i'\N 

I  f     «       *^ 

A                         *< 

up    fr         -V 

j  i  V l ,  M 

1  \ 

Stillman  Ted  Weisbarth's  idea  of  "Leg  Art"" 


12 


First  pictures  inside  b-19 


By  Sanford  E.  Greenwald, 
Cameraman,  News  of  the  Day 


One  of  the  greatest  thrills  of  my  long 
coverage  for  newsreels  was  the  assignment 
to  make  the  first  pictures  inside  the  B-19. 

The  big  ship  is  still  undergoing  experi- 
mental tests  at  March  Field  and  the  news- 
reel  companies  were  permitted  to  photo- 
graph the  bomber  on  one  of  these  test 
flights. 

The  coverage  on  this  story  was  co- 
operative with  all  newsreels,  as  is  always 
the  case  with  the  Army  and  Navy,  so  we 
drew  for  positions  and  points  of  coverage. 
Chubby  Lehmann  of  Fox  Movietone  drew 
to  fly  alongside  the  B-19  in  the  camera  ship: 
Mervyn  Freeman,  working  for  Universal 
Newsreel,  made  the  take-off,  landing  and 
ground  shots,  and  lucky  me,  I  drew  the 
number  for  inside  shots  of  the  giant  ship, 
the  first  shots  to  be  made  inside.  I  looked 
forward  to  great  thrills — and  I  got  'em. 

We  arrived  at  March  Field  at  7:00  a.m. 
and  immediately  attended  a  meeting  of  all 
those  who  intended  flying  in  the  B-19. 
This  consisted  of  Colonel  Umstead,  the 
Army's  test  pilot;  Major  Bunker,  the  co- 
pilot, and  a  dozen  technicians  from  the 
Douglas  Company  who  made  the  first 
flight  with  the  Colonel  from  the  Douglas 
plant  to  March  Field  last  spring.  These 
Douglas  men  are  the  last  word  in  human 
technique  and  have  many  ingenious  de- 
vices installed  in  the  ship  to  register  stress 
and  strain.  The  ship  will  undergo  tests 
with  these  technicians  and  the  Army  before 
being  turned  over  to  the  Army. 

After  instructions  and  assignments  to 
stations  for  the  take-off,  we  were  measured 
for  parachutes  and  climbed  up  into  the 
belly  of  the  ship.  The  first  landing  or 
deck  leads  back  into  the  fuselage  bomb 
bays,  the  crew's  sleeping  quarters,  the  gal- 
ley and  several  gunners'  stations,  also  the 
entrance  to  the  wings.  Up  on  the  second 
deck  and  you  are  up  in  the  cabin  where  the 
pilots,  the  radio  men,  navigator  and  con- 
trol engineer  are  stationed.  I  was  sur- 
prised to  learn  that  the  pilot  does  not  phy- 
sically run  the  engines  and  other  hydraulic 
machinery  but  merely  signals  to  the  con- 
trol engineer,  much  the  same  as  the  cap- 
tain on  an  ocean  liner.  The  engineer  sits 
at  a  large  panel  instrument  board  with  his 
back  to  the  pilot  and  watches  for  the  sig- 
nals. 

After  all  hands  were  at  their  stations  the 
motors  were  started  and  tested  and  we  were 
ready  to  taxi  out  to  the  end  of  the  field 
for  the  take-off.  My  take-off  station  was 
at  one  of  the  windows  in  the  cabin  through 
which  I  could  get  a  good  shot  of  the  two 
2,000  horsepower  motors,  the  110-foot 
wing  and  the  ground  falling  away  as  we 
lifted  gently  into  the  air.  I  have  taken  off 
in  a  good  many  planes  in  my  time,  but  this 
one   gave   me  quite   a   different   sensation. 


It  was  like  being  up  in  a  two-story  build- 
ing and  all  sensations  of  a  take-off  in  an 
average  plane  are  missing  because  of  the 
size  of  the  ship. 

The  fighters  and  bombers  resting  on 
March  Field  passed  my  window  at  ever 
increasing  speed  and  we  were  in  the  air 
.  .  .  climbing.  .  .  . 

We  were  in  a  steady  climb  until  we 
reached  an  altitude  of  8,000  feet  over 
Santa  Monica  and  here  is  where  the  many 
engineering  tests  were  to  begin,  turns, 
banks,  speed  runs  (and,  oh,  boy)  dives  at 
a  45-degree  angle.  All  those  tests  are  a 
little  technical  for  me,  so  I  immediately 
set  out  to  wander  around  the  entire  ship 
in  search  of  my  cut-in  shots  that  were  to 
go  with  the  general  views  by  Lehmann 
in  the  camera  ship  which  was  to  fly  along- 
side, and  right  there  is  where  I  found  out 
that  the  B-19  is  really  a  fast  airplane.  The 
camera  plane  remained  way  back  of  the 
tail  and  I  wondered  why  it  did  not  get 
into  position.  I  found  out  why  when  the 
radio  man  told  me  the  camera  ship,  a  fast 
twin  motored  Douglas  bomber,  had  radioed 
that  it  was  wide  open  and  could  not  catch 
up.  "Would  the  colonel  please  slow  down 
to  allow  the  camera  ship  to  catch  him." 
But  Colonel  Umstead  was  not  interested, 
as  he  was  in  the  midst  of  tests,  and  during 
the  entire  flight  his  eyes  were  glued  to  his 
instruments  and  his  unlighted  cigar  was 
going  around  in  large  and  small  circles. 
If  the  camera  ship  could  not  catch  us, 
well,  that  was  just  too  bad! 

I  used  a  De  Vry  camera  with  a  25mm 
lens  and  made  several  hundred  feet  of  ev- 
erything I  could  see,  which  included  the 
cabin  with  all  hands  at  their  stations,  a 
close-up  of  the  Colonel  (cigar  and  all),  the 
control  panel,  the  gun  turrets,  the  crew's 
quarters,  scenes  in  the  wings,  the  gunners' 
stations  in  the  tail  and  in  the  blisters  un- 
derneath the  ship,  the  bombardiers'  station 
in  the  nose  and  shots  out  the  windows 
showing  the  giant  motors,  the  endless  wing 
expansion  and  the  Army  P-40  fighters  who 
were  escorting  us.  They  looked  like  large 
bees  at  the  ends  of  the  B-19  wings. 

And  here  is  where  I  received  thrill  num- 
ber one.  The  camera  ship  had  landed  back  at 
March  Field  and  Lehmann  and  Don  Brinn, 
the  latter  shooting  stills  for  Wide  World 
Photos,  were  raising  plenty  of  hell  be- 
cause they  did  not  get  in  close  enough  to 
the  B-19.  I  guess  the  pilot  got  sore,  so  he 
ordered  them  back  into  the  camera  ship, 
telling  them  he  would  get  them  close  this 
time  or  else.  He  will  never  know  how 
close  it  came  to  being  "or  else."  We  were 
on  our  way  back  to  the  field  when  just 
about  at  Oxnard  the  radio  man  motioned 
me  to  look  out  of  the  window. 

I  shudder  when  I  think  of  what  I  saw : 


The  camera  ship  in  a  dive  headed  straight 
for  our  wing!  It  leveled  off  and  the  wing 
overlapped  ours  about  twelve  feet.  Every- 
one in  the  B-19  held  his  breath.  The  Col- 
onel, who  was  not  looking,  lifted  the  wing 
of  the  B-19  to  turn,  and  the  pilot  of  the 
camera  ship  barely  had  time  to  lift  the 
wings  and  veer  off  just  enough  to  put  the 
landing  wheel  on  his  tail  on  the  top  of  our 
wing.  I  started  to  think  about  my  para- 
chute. I  The  boys  in  the  camera  ship  got 
their   close-up. — Editorial  note.) 

I  had  barely  swallowed  my  heart  when 
I  got  socked  with  thrill  number  two.  I  was 
in  the  back  compartment  getting  my  breath 
when  one  of  the  Douglas  men  told  me  the 
Colonel  was  now  going  to  dive  the  B-19 
four  times — and  steeper  than  it  had  ever 
dived  before.  We  received  orders  to  at- 
tach our  parachutes.  My  job  was  to  try 
and  photograph  the  ends  of  the  wings, 
which  bend  up  about  10  feet  when  the 
ship  comes  out  of  the  dive.  Frankie  Filen 
of  the  A. P.  was  right  under  me  with  a  still 
camera  shooting  out  the  side  window. 
There  we  stood,  very  tense,  waiting  for 
whatever  might  happen — and  then  it  DID! 

It's  strange,  but  the  ship  is  so  big  you 
hardly  feel  any  sensation  when  she  goes 
into  a  dive,  BUT  when  she  pulls  out  at  the 
bottom:  well,  baby,  that's  something  else 
again.  If  you  can  imagine  how  it  feels  to 
have  someone  put  ten  tons  of  lead  in  your 
pants,  you  have  a  SLIGHT  idea  of  the  sen- 
sation. I  tumbled  on  top  of  Filen  and  we 
both  went  scrambling  to  the  floor  of  the 
ship,  where  we  stuck  until  we  got  on  even 
keel  again.  We  had  just  gained  our  equili- 
brium when  the  Douglas  man  shouted, 
"HERE  WE  GO  AGAIN,  BOYS!"  The 
second  dive  was  worse  than  the  first,  the 
sensation  being  that  you  were  glued  to  the 
seat  and  your  arms  and  legs  weighed  a  ton. 

What's  the  Colonel  trying  to  do?  Dive 
the  wings  off  this  monster?  We  take  it  be- 
cause there  is  nothing  else  to  do,  but,  gosh, 
will  we  be  glad  when  we  get  over  this 
phase  of  the  flight!  , 

After  the  last  dive  and  we  were  headed 
back  to  March  Field,  we  got  very  brave 
again  and  started  to  enjoy  the  ride.  Then 
comes  thrill  number  three.  Just  as  we  got 
comfortable  a  noisy  siren  started  blowing. 
What's  this,  we  thought?  Have  the  wings 
come  off  or  one  of  the  motors  dropped  out? 
This  must  be  the  bail-out  signal.  As  we 
got  up  weakly  to  adjust  our  'chutes,  the 
Douglas  man  gave  a  knowing  smile  and 
yelled  in  our  ears:  "The  siren  is  just  a 
signal  to  let  the  pilot  know  the  eight-foot 
landing  wheels  are  lowered  for  the  land- 
ing." 

After  a  smooth  landing  and  a  very  quick 
stop  we  taxied  up  to  the  starting  point, 
where  all  hands  disembarked — wiser  men 
and  feeling  a  hellofalot  safer. 


International  Photographer  for  December,  1941 


13 


Inside  the  B-19  with  Sanford  Greenwald 


Left,  reading  ({own :  Lieutenant  Stanley 
M.  Umstead,  pilot;  Major  Howard  G. 
Hunker,  co-pilot  and  Mark  Koggler,  Urn- 
stead's  personal  crew  chief.    It  is  here  that 


the  signals  are  given  which  are  relayed  to 
the  pilot  at  the  panel  board  (shown  in  the 
picture  below).  Lower  left:  Shows  what 
goes  on  behind  the  Colonel's  back.    Radio 


man  Duncan  Hall:  Flight  Engineer  A 
Grant  at  the  engine  controls  and  Vert 
Peterson  from  the  Wright  Aero  Comp 
also  watching  the  engine  controls. 


14 


Center,  reading  down:  The  B-19  and  an 
army  advance  flyer;  California  coastline 
from  bombardier's  compartment;  the  B-19 
in.  flight. 


Right:  Main  cabin  of  the  B-19  showing 
experimental  devices  and  flight  test  equip- 
ment (in  background  is  gunner  ascending 
to  his  turret);  "shooting"  out  of  the  win- 


dow of  the  cabin,  with  one  of  the  army's 
P-40  fighting  planes  at  the  end  of  the  wing 
(See  story  on  page  13). 


International  Photographer  for  December,  1941 


15 


CoatecI  Lenses 

(Continued  from  Page  12) 

suitable  material  upon  the  surface  of  op- 
tical elements  in  a  high  vacuum.  This  thin 
film,  when  deposited  under  the  correct 
conditions  and  to  a  specified  thickness, 
effected  reductions  in  the  surface  reflectiv- 
ity as  great  as  85  per  cent.  The  second 
announcement  came  in  1939  of  a  process 
discovered  by  Miss  Katherine  Blodgett2 
of  the  General  Electric  Laboratories.  Miss 
Blodgett's  process  consisted  of  the  forma- 
tion of  a  soapy  film  of  the  required  char- 
acteristics upon  the  surface  of  optical  ele- 
ments. Although  the  reductions  in  reflec- 
tivity achieved  by  this  process  were  great, 
the  extreme  fragility  of  the  film  made  the 
process  impracticable  for  general  use. 

THEORETICAL 

The  theory  of  the  reduction  of  surface 
reflection  has  been  dealt  with  so  thorough- 
ly and  competently  by  others  in  the  litera- 
ture1 ~  3  4  that  it  will  be  necessary  to  give 
only  the  general  principles  of  the  pheno- 
menon here.  The  quantity  of  light  reflected 
from  the  polished  surface  of  a  transparent 
material  and,  therefore,  lost  from  the  trans- 
mitted beam,  depends  upon  such  factors 
as  the  index  of  refraction  of  the  material 
and  the  angle  at  which  the  light  strikes 
the  surface.  If  the  angle  of  incidence  is 
kept  constant,  then  the  index  of  refraction 
is  the  determining  factor,  and  the  higher 
the  index  the  greater  is  the  percentage  of 
light  reflected. 

Light  can  be  considered  as  traveling  in 
a  wave  form.  When  a  beam  of  light  is  re- 
flected from  two  parallel  polished  surfaces 
of  a  transparent  material,  the  light-waves 
can  be  made  to  supplement  or  oppose  each 
other  in  the  reflected  beams  by  suitable 
adjustment  of  the  separation  of  the  reflect- 
ing surfaces.  When  these  have  an  optical 
separation  of  Y^  of  a  wavelength,  the  waves 
in  the  two  reflected  beams  oppose  each 
other    and    cause    destructive    interference. 


The  total  intensity  of  the  reflected  beam 
will  be  zero  when,  and  only  when,  the 
two  components  are  of  equal  intensity. 

If  we  wish  to  reduce  the  reflectivity  of 
the  polished  surfaces  of  an  optical  ele- 
ment and  thereby  increase  their  transmis- 
sion, it  can,  therefore,  be  done  by  provid- 
ing over  the  entire  element  two  reflective 
surfaces  separated  by  -/4  wavelength,  both 
surfaces  reflecting  an  equal  amount  of 
light.  Under  these  conditions,  the  two 
beams  will  cancel  each  other.  Although 
it  was  not  clearly  understood  until  the 
time  of  Dr.  Strongs  work,  it  was  this  in- 
terference phenomenon  that  accounted  for 
the  effects  observed  by  Taylor  and  the 
others. 

The  most  satisfactory  method  of  pro- 
ducing the  two  reflective  surfaces  separ- 
ated by  the  correct  distance  is  to  form 
upon  the  surface  of  an  optical  element  a 
film  of  transparent  material  of  such  nature 
and  of  such  refractive  index  that  the  light 
reflected  from  the  contact  surface  where 
the  film  touches  the  glass  equals  that  re- 
flected from  the  upper  surface.  This  in- 
dex can  be  found  with  little  trouble  to  be 
equal  to  about  1.25. 

The  effects  that  Taylor  observed  first 
were  due  to  the  formation  of  a  film  of 
approximately  the  required  characteristics 
by  the  chemical  action  of  the  air  with 
some  of  the  constituents  of  the  glass.  The 
chemical  methods  that  were  subsequently 
developed  all  aimed  at  the  artificial  stimu- 
lation of  such  a  film.  The  failure  of  the 
methods  to  produce  more  satisfactory  re- 
sults was  due  to  the  fact  that  a  film  of  the 
required  index  could  not  be  formed  on 
all  types  of  glass.  Even  the  process  de- 
veloped by  Strong  missed  perfection  in 
that  particular  respect,  for  there  is  no 
suitable  substance  that  can  be  applied  in 
the  form  of  a  film  having  an  index  as  low 
as  the  required  1.25. 

All  the  processes — the  chemical  by  Tay- 
lor, Kollmorgen,  Kellner,  Wright,  and 
Ferguson:  the  evaporation  by  Strong;  and 
the  one  by  Miss  Blodgett — fail  in  one  other 
important  respect  which  offers  such  nat- 
ural obstacles  that  it  may  never  be  sur- 
mounted :  that  is,  the  thickness  requirement. 
The  film  can  be  made  of  the  required  thick- 
ness for  only  one  wavelength  at  a  time  and 
is,  therefore,  wrong  for  all  others.  Conse- 
quently, when  white  light  is  used,  the  re- 


FAXON  DEAN 

INC 

CAMERAS,    BLIMPS-DOLLYS 
FOR  RENT 

No.  22184 
4516  Sunset  Boulevard  Night,  SUnset  2-1271 


duction  of  reflectivity  can  be  made  a  mini- 
mum for  only  one  color;  all  others  suffer 
greater  amounts  of  reflection.  Fortunately, 
the  difference  for  other  colors  is  not  great, 
but  it  is  sufficient  to  give  treated  surfaces 
a  colored  hue  when  viewed  by  reflected 
light.  If  all  colors  were  reduced  equally, 
the  remaining  small  amount  of  reflected 
light  would  not  display  any  predominant 
color. 

Optical  systems  designed  to  work  with 
light  of  some  certain  wavelength  should 
be  treated  to  give  maximum  transmission 
for  that  wavelength.  Complying  with  this 
rule  there  are  in  use  in  the  studios  many 
violet  recording  systems  that  have  been 
treated  for  maximum  transmission  at  about 
4000  A. 

At  the  writing  of  the  previous  paper5 
on  this  subject  in  April,  1940,  the  process 
had  been  in  use  experimentally  for  only  a 
few  months,  but  such  great  interest  was 
shown  in  the  possibilities  of  the  process 
that  a  report  was  considered  desirable  at 
that  time.  Due  to  the  newness  of  the  pro- 
cess, however,  little  definite  information 
based  on  actual  production  results  could 
be  given.  At  the  present  writing,  however, 
some  very  interesting  data  are  at  hand, 
supplied  through  the  courtesy  of  several 
of  the  studios  in  Hollywood. 

Sound-recording  systems  consisting  of 
ten  air-glass  surfaces  have  been  treated 
both  for  violet  and  unfiltered  light.  A 
gain  in  transmission  of  50  per  cent  was 
measured  in  nearly  all  cases.  Since  the 
tungsten  recorder  lamps  are  of  necessity 
burned  at  or  near  their  peak  capacity,  this 
50  per  cent  increase  in  transmission  in  the 
optical  train  has  made  it  possible  to  re- 
lieve the  load  on  the  lamps  and  thereby 
considerably  increase  the  lamp  life.  In 
some  instances  the  gains  obtained  by  treat- 
ment of  the  lenses  have  been  utilized,  not 
to  save  current  or  lamp  life,  but  to  make 
possible  the  use  of  slower,  finer-grained 
films. 

A  large  number  of  motion  picture  cam- 
era lenses  has  been  treated  during  the 
past  year.  Careful  measurements  made  at 
one  of  the  major  studios  on  a  3-inch  focus 
Cooke  Speed  Panchro  lens  at  //2.0  showed 
the  transmission  of  the  untreated  lens  to 
be  69.5  per  cent.  The  transmission  of  the 
lens  when  treated  was  95.1  per  cent.  In 
other  words,  the  light  loss  had  been  re- 
duced from  nearly  30  per  cent  to  less  than 
5  per  cent.  Another  studio  reports  meas- 
urements showing  a  gain  of  32  per  cent 
due  to  treatment  of  another  type  of  lens. 

Of  even  greater  interest  than  the  increase 
in  transmission  is  the  improvement  in  the 
image  quality  due  to  this  treatment.  The 
increase  in  contrast  and  brilliance  of  pic- 
tures made  with  treated  lenses  is  very 
noticeable.  In  work  where  the  utmost  in 
image  quality  is  required,  such  as  in  pro- 
cess projection  keys,  the  treatment  is  of 
great  value  and  is  widely  used  in  several 
studios. 

(Concluded  in  January  Issue) 


16 


yoims  TRuly,  inorman  Alley 


Charles  Saxton.  Hollywood  writer,  just  returned 
from  New  York,  has  turned  over  to  us  two  inter- 
esting personal  letters,  sent  to  him  by  Newsreeler 
Alley  during  a  recent  survey  sojourn  in  South 
America  where,  in  addition  to  his  NEWS  OF 
THE  DAY  credentials,  he  carried  the  goodwill 
folio  of  Jock  Whitney  and  Nelson  Rockefeller. 

The  two  missives,  which  may  just  as  well  have 
been  open  letters  to  all  Americans,  speak  for 
themselves.  Space  permits  publication  of  only 
one  letter.     I  Editorial  note.  I 


RIO,  Tues.  27th. 


Dear  Charlie: 


Well,  here  I  am  in  South  America — and 
what  a  relief  it  is  to  see  beautiful  senoritas 
and  smiling  hombres  everywhere  I  turn 
instead  of  scowling  storm  troopers  and  jit- 
tery air  raid  wardens! 

I'm  parking  the  body  at  the  Copacabana 
Palace,  which  is  like  one  of  the  swank 
hostels  in  pre-hostile  Europe.  Portuguese 
is  Brazils  mother  tongue,  though  Spanish 
suffices  commercially,  but  you  would  have 
died  had  you  been  here  to  see  me  make  my 
bow  at  this  Brazilian  Biltmore  by  barging 
boldly  into  the  lobby  with  a  Spanish- 
American  dictionary  thumbed  open  to  just 
the  right  page.  The  Oxonian  room  clerk 
and  the  bellhops  looked  at  me  with  that 
same  piteous  curiosity  as  that  evidenced 
in  those  gals  of  Gaul  when  I  shavetailed 
into  France  in  '17. 

I  was  only  here  24  hours  when  I  fell 
heir  to  a  red-hot  newsreel  story.  Paradise 
took  French  leave  of  this  Portuguese  town 
when  Ole  Man  Mercury  hotfooted  to  105 
above.  But  lens  journalists,  like  the  U.  S. 
Mail,  are  never  chased  to  cover  by  cyclone, 
deluge,  death,  taxes,  or  hellish  heat.  I  lost 
no  time  in  making  a  news  movie  which 
should  have  been  captioned  THE  WHOLE 
TOWN'S  COOKING.  The  Rio  Chamber  of 
Commerce  was  quick  to  assure  me  that 
such  weather  was  most  unusual — but  who 
am  I  to  dispute  the  word  of  such  an  august 
body,  even  though  it  wasn't  August?  I 
come  from  Southern  California! 

Thirty-five  victims  of  Senor  Sol,  but — 
curiously  enough — those  most  serious  laid 
low  were  native  Brazilians.  I  made  some 
cheesecake  shots  at  Copacabana  Beach,  to 
which  most  of  the  sizzling  citizenry  that 
look  good  in  bathing  suits  fled  from  the 
swelter  of  the  metropolis. 

The  temperature  delightfully  dropped  in 
time  for  the  Carnival  at  Rio,  which  is  a 
colorful  cross  between  the  New  Orleans 
Mardi  Gras  and  the  one  at  Coney  Island. 
We  had  a  lot  of  fun. 

When  I  say  we,  I  include  Juan  What's- 
his-name.  Juan,  who  would  make  a  good 
bullfighter  were  one  able  to  find  a  bull 
that  could  make  the  weight,  is  my  self- 
appointed  leg  man,  pack  mule,  and  guide 
par    excellence.     An    hombre    like    Juan 


makes  it  easy  for  me  to  wend  my  South 
American  way.  I  always  fall  heir  to  a  fel- 
low like  Juan,  rergardless  of  what  part  of 
the  world  I  may  be  in.  They  fade  into  my 
life  in  strange  ways.  Sometimes  I  win  one 
of  them  in  a  poker  game,  or  find  one  pant- 
ing hungrily  at  my  doorstep.  But  all  I 
know  is  that  I'm  no  longer  than  a  day  or 
so  in  some  strange  sector  or  on  a  new 
front  when  I  turn  around  to  find  one  at 
my  elbow. 

If  you  remember,  Charlie,  in  far-off 
Shanghai  and  Nanking,  it  was  Chinese  Joe. 
At  Canton,  it  was  big-eared  Billikin.  In 
Spain,  it  was  Esteben.  In  Chicago,  a  Jew- 
ish boy  named  Looie.  During  the  Holland 
invasion  it  was  Fritz,  and  here  in  Rio  it's 
Juan. 

Juan  is  one  of  those  Forgotten  Men  you'll 
always  remember.  He's  as  proud  of  his 
English  as  I  am  ashamed  of  my  Spanish, 
and  some  of  the  dialect  tidbits  he  tosses  my 
way  are  lulus.  When  I  asked  him  who 
was  his  favorite  movie  actor  he  grunted 
and  exclaimed,  "Palookas!"  Well,  it  was 
three  days  later  before  I  found  out  that, 
instead  of  calling  Hollywood  actors  "pa- 
lookas," he  was  telling  me  he  liked  Paul 
Lukas! 

Speaking  of  Hollywood,  I  went  to  a 
movie  on  my  first  evening  over  in  the 
Serrador  Center.  I  caught  Jesse  James  in 
the  native  tongue.  Jesse  James,  pronounced 
in  the  Spanish  manner,  would  sound  like 
Hethie  Hymie,  and  that  brings  me  to 
another  interesting  point  in  this  fascinating 
business  of  speaking  Spanish.  Somewhere 
I  had  been  told  once  that  the  real  reason 
the  Spanish  pronounce  their  soft  "c"  and 
esses  like  tee-aitch  was  because  of  an  orig- 
inal diplomatic  device  of  the  royal  yes- 
men  to  cover  up  a  Spanish  king  who  lisped. 
After  consulting  the  Castilian  of  several 
well-informed  Hioites,  I  still  lack  proof 
that  such  was  the  case. 

The  weather,  continuing  nice,  got  to  the 
point  where  it  was  yelling  "fore"  to  all 
gadabouts  of  the  green,  and  my  camera 
galleried  President  Gitulio  Vargas  at  a 
round  of  golf.  Vargas  jockeys  a  fair  nib- 
lick, Charlie,  and  an  intimate  close-up  of 
the  man  causes  me  to  readily  appreciate 
why  those  two  farmers  who  plowed  up  the 
world's  largest  diamond  in  the  bed  of  the 
River  of  Saint  Anthony  named  the  726- 
carat  gem  after  him.  Yessir,  Gitulio  Var- 
gas is  the  Rio  McCoy! 

At  the  19th  hole,  Vargas  cooled  off  with 
something  that  resembles  our  own  Kentucky 
mint  julep.  As  we  stood  by  and  watched, 
Juan  turned  toward  my  nearest  ear  and 
half  whispered:  "El  President  ees  like 
beeg  feesh!"  Well,  that  crack  struck  me 
as    approximating    les    majeste    and    high 


treason,  until  my  English-fungoing  one- 
man  safari  explained  that  what  he  meant 
was  that  Vargas  likes  to  go  deep-sea  fishing 
for  the  big  ones! 

That  President  Vargas  likes  to  go  fish- 
ing got  me  to  wishfully  thinking  that  it 
would  be  great  should  he  and  Franklin  D. 
form  an  angling  twosome  in  the  Caribbean 
some  day  soon.  It  would  be  a  rare  privi- 
lege indeed  to  listen  in  on  them  at  the  end 
of  a  fisherman's  perfect  day,  as  they  might 
try  to  convince  each  other  as  to  how  big  the 
one  was  that  got  away.  A  news  movie  that 
I'd  go  a  long  way  to  make  would  be  that 
one  showing  the  two  democratic  chieftains 
swapping  fish  stories  in  the  salon  of  the 
palatial  presidential  yacht.  Vargas  would 
stretch  his  arms  to  the  straining  point,  and 
aver,  "Senor  Roosevelt,  I  once  caught  a 
sailfish  this  size — and  with  a  pin  hook." 
Then  I  can  see  FDR  topping  him  by  de- 
scribing an  experience  with  one  the  length 
of  the  long  dining  table.  Vargas  would 
blink,  take  a  deep  breath,  and  up  it  one 
even  longer  than  the  banquet  table — until, 
finally,  our  own  president,  who  never  has 
had  much  to  do  with  small  fry,  would 
essay  description  of  a  fish  to  end  all  fish 
by  saying:  "Well,  neighbor,  I  once  caught 
a  tiger  shark  that  reached  from  yonder 
porthole  to  uhh,  let's  see — yes,  from  there 
to — aw  shucks,  Gitulio,  let's  go  out  on 
deck  where  there's  enough  room  to  talk 
of  such  things!" 

All  of  which  would  be  swell,  Charlie, 
because  smiling  men  who  tell  white  lies 
about  the  size  of  the  fish  they've  caught, 
or  who  throw  an  expensive  bag  of  clubs 
into  the  brook  when  they  miss  a  shot  that 
would  be  a  fairly  tough  one  for  even  a 
Bobby  Jones,  are  without  exception  the 
type  of  peace-loving  fellows  who  will  put 
their  shoulders  together  when  the  show- 
down comes  and  fight  like  hell  for  the  con- 
tinuance of  Life,  Liberty,  and  the  undis- 
turbed Pusuit  of  Happiness.  Don't  you 
think  so,  Charlie? 

Buenos  noches,  pal — and  more  next 
week. 

Norman. 


CIIVEX 


Light  Testers — Polishers  used  by  all  Major 
Studios.  We  are  the  sole  Manufacturers 
and   Distributors. 

Manufacturer  of  16mm  and  35mm  Record- 
ing  Heads,   Developing   Machines,   Bipack 
Color  and   Black  and   White  Printers,  Re- 
winds. 
Special   Machinery   built   to   order. 

CINEMA  ARTS-CRAFTS 

914  No.  Fairfax  HE    1984 

Hollj-wood,  Calif. 

Cable    Address:     "CINEBARSAM" 


International  Photographer  for  December,  1941 


17 


Ut's  qet  Touqh  - *  filivi 


Fifteen  years  is  a  long  time  .  .  .  long 
enough  for  a  kid  to  go  through  grammar 
school  and  high  school  and  most  of  a 
college  stanza  .  .  .  long  enough  for  several 
crops  of  stars  to  grow  bright  in  Holly- 
wood, dim,  and  be  forgotten  .  .  .  long 
enough  for  a  number  of  cycles  of  film 
stories,  and  for  the  talkies  to  have  come 
along  and  revolutionized  an  industry  .  .  . 
long  enough  for  the  appearance  of  a  wide 
range  of  technical  developments  which 
have  marked  the  growth  of  the  movies. 

Fifteen  years  is  just  about  the  length 
of  time  there  has  been  in  existance  a  pro- 
cess of  film  preservation  which  has  almost 
spectacular  claims.  Because  of  the  absence 
of  ballyhoo  and  of  any  sustained  promo- 
tional drive,  few  outside  the  industry — and 
not  many  within  it — know  anything  about 
the  O'Sullivan  Film  Process,  whose  inspir- 
ation lay  in  a  desire  to  protect  the  sound 
tracks  of  the  first  experimental  talking 
pictures. 

Fortunately  it  was  discovered  that  appli- 
cation of  a  liquid  to  a  given  film  area 
could  not  be  wholly  controlled.  It  was 
impossible  to  protect  only  the  sound  track, 
for  the  liquid  spread.  With  further  re- 
search it  became  evident  that  the  spread- 
ing of  the  chemical  was  benefitting  the  en- 
tire film  surface:  further  study  revealed 
that  it  was  also  penetrating  to  become  part 
of  the  base  of  the  film,  and  that  the  re- 
sult was  a  film  that  was  tough — inside  and 
out. 

Damage  to  film  from  any  of  a  number 
of  sources  is  familier  to  most  cameramen 
and  other  technicians  within  the  industry. 
Usually  carelessness  or  inexperience  is  re- 
sponsible for  the  enlargement  and  breaking 
of  sprocket  holes,  the  marking  of  sprocket 
teeth  on  frame  or  between  the  holes,  or  the 


marking  of  sound  tracks.  Breaking  of  film 
as  the  result  of  an  over-tight  take-up  reel 
or  looping  of  film  around  a  stationery  ob- 
ject is  another  familiar  cause  of  damage. 
Accordion-pleating,  coming  from  loose 
winding  of  film  on  the  reel  followed  by 
pulling  of  the  loose  end  to  tighten  it,  or 
from  uneven  winding  on  the  reel  is  yet 
another;  similarly,  film  may  be  crushed  or 
have  its  edges  ruffled. 

Scratching  of  emulsion,  resulting  from 
improper  cleaning — or  total  absence  of 
cleaning — of  the  projector  before  a  show- 
ing is  undoubtedly  one  of  the  most  serious 
forms  of  film  damage  directly  attributable 
to  human  negligence,  and  it  is  one  of  the 
first  things  the  O'Sullivan  Film  Process 
overcomes  in  large  measure  by  reason  of 
its  cover-coating  the  emulsion  protectively 
without  adding  any  measurable  thickness 
to  the  wound  reel  of  film.  Hair-line 
scratches,  which  come  from  faulty  mech- 
anism or  from  an  accumulation  of  particles 
of  dust  and  dirt  lodged  in  the  film  gate, 
may  still  appear  on  the  coating,  but  be- 
cause the  emulsion  is  protected,  projection 
remains  perfect.  The  same  protective  fac- 
tor virtually  eliminates  peeling  and  blis- 
tering of  emulsion. 

Moisture  has  long  been  a  bugaboo. 
Creeping  to  the  surface,  it  produces  water- 
marks on  the  film,  ultimately  this  sweat- 
ing results  in  the  rotting  of  film;  excessive 
humidity  causes  emulsion  to  slime  off. 
Sweating  is  also  a  factor  in  the  bleeding 
of  color,  and  with  light  from  projection 
which  causes  fading,  is  equally  responsible 
for  the  destruction  of  color  film.  Again 
the  O'Sullivan  Film  Process,  with  its  inner 
and  outer  toughening  which  "ties"  notably 
unstable  dyes,  claims  to  prevent  this  deter- 
ioration, and  also  to  prevent  rainbowing 
as  a  result  of  splicing. 

Capt.   John    D.   Craig   of   New   York,   a 


Landers  Camera  Rentals 

CAMERA    RENTALS    SERVICE 

Blimps,  Dollies,  all  Accessories 

* 

DAY PHONES NIGHT 


Hillside        6373  De  Longpre  Ave.     HEmpstead 
8333  Near  Ivar  Street  13H 

HOLLYWOOD,  CALIFORNIA 


By  Harry  Murchison 

writer  I  "Danger  Is  My  Business"),  explor- 
er, photographer  and  lecturer,  is  one  of 
those  who  verifies  the  laboratory's  claims, 
asserting  that  he  uses  his  Kodachrome  ori- 
ginals in  all  his  lectures,  and  reporting  that 
"it  would  take  an  expert  to  pick  out  the 
new  print  shots  from  the  old  ones"  when 
he  had  occasion  to  intercut  new  film  with  a 
year-old  O'Sullivan-Processed  reel  which 
had  been  used  82  times  on  16mm  arc  pro- 
jectors and  37  times  on  incandescent  lamp 
projectors  during  his  series.  "I  attribute 
this  color  brilliancy  and  resistance  to 
scratching,"  he  declares,  "entirely  to  your 
process  of  film  preservation." 

In  other  tests  of  color  film,  a  16-inch 
strip  of  processed  film  was  boiled  for  two 
hours,  dried,  examined,  and  neither  fading 
of  color  nor  drawing  of  emulsion  was  dis- 
cernible; letting  film  stand  in  a  jar  of  water 
for  48  hours  likewise  produced  no  change. 

Acetone  solutions,  largely  used  for  splic- 
ing, must  be  handled  with  considerable 
care  in  order  to  avoid  smearing  the  emul- 
sion. Yet  application  of  pure  acetone  to 
a  strip  of  color  film  resulted  in  dissolution 
of  the  base  long  before  the  emulsion  ap- 
peared to  be  affected.  Carbon  tetrachloride 
is  another  agent  which  may  draw  and  smear 
emulsion  when  applied  too  freely  or  too 
roughly;  rubbed  with  a  coarse  cloth  a 
very  liberal  application  of  carbon  tet 
showed  no  damage — a  further  indication 
of  the  risistance  of  film  to  dirt  in  the  pro- 
jector. 

Protection  against  excessive  humidity  has 
already  been  named  as  one  of  the  things 
the  O'Sullivan  Process  overcomes.  The 
same  thing  applies  to  excessive  dryness, 
and  to  changes  in  temperature.  As  one 
test,  a  strip  of  film  was  left  in  an  open 
box  under  the  porch  of  a  mountain  cabin 
where  temperatures  ranged  from  below 
freezing  to  some  122  degrees,  for  six  years. 
The  film  itself  is  now  at  least  a  dozen 
years  old,  for  it  had  been  discarded  for 
some  time  when  it  was  processed  in  1931. 
Yet  today  it  is  still  pliable,  neither  warped 
nor  shrunken,  and  is  still   projectable. 

At  the  same  time  film  resists  oil  and 
grease,  which  the  U.  S.  Bureau  of  Stand- 
ards says  is  its  worst  enemy.  True,  it  does 
not  shed  these  foreign  elements,  but 
neither  does  it  permit  any  penetration  into 
emulsion  or  base,  and  any  standard  sol- 
vent will  clean  it  off  easily,  without  harm- 
ing either  film  or  the  effectiveness  of  the 
treatment  itself. 

As  for  pliability,  tests  have  shown  the 
possibility  of  securing  more  than  3000 
projections  from  O'Sullivan-Processed  film. 
A  continuous  loop  has  gone  that  long  with- 
out breakdown.  An  early  user  of  coin-con- 
trolled continuous  projection  equipment 
saw  a  single  processed  reel  take  in  over 
.1110  in  nickels,  for  a  total  of  2800  show- 
(Continued  on  Page  27) 


18 


PHOTOGRAPHS  ^^  ^ 

MAX,MUM  SPUD  cQLOR 

REALCTCP— .— OCHPO^ 


NATIONAL  CARBON  COMPANY,  INC. 

Unit  of  Union  Carbide  and  Carbon  Corporation 


Carbon  Sales  Division:  Cleveland,  Ohio 


GENERAL  OFFICES 


30  East  42nd  Street,  New  York,  N.  Y. 


BRANCH  SALES  OFFICES 
New  York,  Pittsburgh,  Chicago,  St.  Louis,  San  Francisco 


International  Photographer  for  December,  1941 


19 


16mm.  dEPARTMENT 


Some  Fundamentals  Underlying 
Sound-on-film 

The  average  amateur  either  is  of  insuffi- 
cient affluence  or  feels  that  the  making  of 
a  sound  picture  is  way  beyond  him.  Con- 
sequently today  there  are  few  people  doing 
any  work  with  film  where  sound  is  em- 
ployed. It  is  a  fact  that  it  is  more  expensive 
than  straight  photographic  work,  although 
not  of  sufficiently  increased  proportions  to 
warrant  ruling  it  out  entirely.  It  also  is  true 
that  it  is  more  exacting  than  straight  pho- 
tographic work,  but  we  feel  that  the  ama- 
teur who  has  the  ability  to  master  his  cam- 
era medium  to  the  point  where  he  can  in- 
telligently make  pictures  with  it  can  do  the 
same  thing  with  the  expanded  equipment 
fulfilling  the  requirements  of  sound-on- 
film.  And  since  in  recent  weeks  we  have 
been  confronted  by  several  who  have  ex- 
pressed an  interest  in  the  medium  and  wish 
to  know  "what  it  is  all  about,"  even  though 
they  may  not  engage  in  the  actual  produc- 
tion themselves,  we  are  going  to  give  them 
some  of  the  basic  fundamentals  underlying 
its  operation. 

In  the  early  days  of  sound  pictures,  the 
sound  was  recorded  on  a  disc,  one  similar 
to  the  phonograph  records  with  which  we 
are  all  familiar,  but  differing  in  that  they 
were  16  inches  wide  instead  of  10  or  12, 
and  turning  at  33%  revolutions  a  minute 


instead  of  the  usual  78.  The  recording  was 
made  in  "sync"  with  the  picture  and  start- 
ed that  way  when  projected  —  but  often 
didn't  remain  that  way  through  the  entire 
reel!  We  are  mentioning  this  particular 
method  because  we  feel  that  manufacturers 
are  overlooking  a  good  bet  for  the  ama- 
teurs. There  are  "home  recording"  ma- 
chines available  on  the  market  today  that 
retail  for  surprisingly  small  cost,  are  port- 
able and  easy  (or  relatively  so)  to  carry, 
and  above  all  use  the  very  inexpensive  ace- 
tate discs  for  the  recording — which  requires 
no  processing.  THE  ONLY  REQUIRE- 
MENTS THAT  WOULD  HAVE  TO  BE 
MET  ARE  THOSE  OF  SYNCHRONISM, 
and  possibly  an  amplifier  having  greater 
ability  to  amplify  or  pick  up  weaker  sounds 
than  the  present  machines  do  and  which 
doesn't  present  any  particularly  great  prob- 
lems. The  maintenance  of  "sync,"  too,  is 
no  great  problem,  requiring  only  that  a 
synchronous  motor  be  used  on  the  recorder 
instead  of  the  usual  "wild"  motor,  and  the 
use  of  a  similar  "sync"  motor  on  the  cam- 
era instead  of  relying  on  the  spring  motor 
so  prevalent  on  amateur  equipment. 

Anyone  who  is  familiar  with  the  basic 
simplicity  of  the  requirements  involved 
here  will  agree  that  the  one  big  expense 
has  been  entirely  removed  by  the  use  of 
the  acetate  discs  which  sell  for  about  ten 


Actor  and  Cameraman  Confer 

John  Carradine,  quite  an  amateur  photographer,  ami  Arthur  Miller 
discuss  the  next  camera  set-up  on  Twentieth  Century  Fox  sea  set  of 
"Son   of   Kurv." 


or  fifteen  cents  a  disc  and  can  be  played 
immediately  after  recording,  without  pro- 
cessing. With  proper  care  and  use  I  by  hav- 
ing a  very  light  crystal  pick-up)  they  will 
last.  Such  a  combination  is  not  only  pos- 
sible and  feasible,  but  would  open  up  an 
entire  new  field  for  the  amateur  that  form- 
erly has  been  closed  to  him  because  of  the 
added  cost  of  sound  on  film  and  the  addi- 
tional technical  problems  its  use  poised. 
It  is  our  opinion  that  here  lies  a  virgin 
field  for  a  manufacturer  and  one  that 
should  prove  as  lucrative  to  him  as  it 
would  be  interesting  to  the  user  and  it 
would  open  up  for  the  amateur  the  possi- 
bility of  making  sound  pictures. 

Of  course,  it  should  be  emphasized  that 
sound-on-disc  is  not  as  a  flexible  from  the 
editorial  standpoint  as  sound-on-film,  but 
with  a  little  ingenuity  the  amateur,  who 
generally  leads  in  advancement  in  almost 
any  field,  should  be  able  to  fit  his  tech- 
nique to  suit  the  medium  and  get  some  very 
satisfactory  results.  It  must  be  added  that 
the  turntable  on  which  the  record  is  repro- 
duced must  also  possess  a  "sync"  motor, 
but  with  most  machines  on  the  market  to- 
day there  is  also  a  pick-up  arm  that  swings 
into  place  on  the  same  table  used  for  the 
recording,  so  there  is  no  particular  prob- 
lem with  the  reproduction. 

But  we  started  out  to  talk  about  sound- 
on-film.  This  method  of  recording  is  a 
photographic  process.  Everything  is  done 
from  a  photographic  standpoint;  the  little 
hills  and  valleys — or  the  varying  intensi- 
ties of  light  and  shade  I  depending  upon  the 
system  used )  are  actually  photographed 
pictures  of  vibrations  as  they  are  picked  up 
by  the  microphone.  On  that  premise  let  us 
proceed. 

Those  of  you  who  have  studied  physics 
will  know  that  a  sound  wave  is  a  longi- 
tudinal wave  as  opposed  to  the  transverse 
nature  of  a  light  wave.  In  everyday  lan- 
guage it  means  that  the  sound  wave  travels 
in  a  straight  line  and  reaches  its  goal,  our 
ears,  by  setting  up  a  succession  of  minute 
disturbances  in  the  air  which  alternately 
compress  it  slightly  one  instant  and  the 
next  instant  cause  there  to  be  a  slight 
vacuum. 

//  is  this  series  of  "condensations  and 
rarefactions,"  as  these  compressions  and 
vacuums  are  called,  that  represent  a  sound 
nave.  If  we  strike  middle  "a"  on  the  piano, 
the  strings  will  vibrate  at  a  frequency  of 
I  10  times  per  second.  That  means  that  the 
air  will  be  alternately  compressed  and  then 
rarefied  at  the  rate  of  440  times  per  second. 

When  this  mechanical  disturbance  of  the 
air  reaches  the  microphone,  these  compres- 
sions— or  condensations — and  rarefactions 
— or  minute  vacuums — they  set  up  a  me- 
chanical vibration  in  the  sensitive  portion 
of  the  microphone  which  will  move  about 
in  any  manner  the  sound  waves  happen  to 


20 


be  vibrating.  The  microphone  has  as  its 
purpose  to  change  into  electrical  vibrations 
in  the  wires  leading  from  it.  the  mechanical 
vibrations  of  the  sound  waves,  and  does  this 
by  causing  a  large  amount  I  relatively )  of 
current  to  flow  through  it  when  a  conden- 
sation happens  to  be  hitting  it,  and  a  small 
amount  of  current  when  a  rarefaction  fol- 
lows. Thus,  the  electrical  output  of  the 
microphone  will  be  a  series  of  changes 
from  large  current  flow  to  small  current 
flow,  which  will  be  an  exact  replica  of  the 
condensations  and  rarefactions  hitting  the 
microphone,  and  this,  in  a  complex  form 
of  varying  intensities,  frequencies  ( or 
speeds),  and  patterns,  will  represent  the 
complex  and  interwoven  nature  of  familiar 
sounds,  as  of  an  orchestra. 

But  the  electrical  output  of  so  sensitive 
a  device  as  a  microphone  is  extremely 
weak,  and  before  it  can  be  made  to  do  any 
work  in  the  recorder  it  must  be  built  up  to 
proportions  strong  enough  to  do  so.  This 
is  the  work  of  an  amplifier,  which  simply 
changes  the  microscopically  minute  im- 
pulses coming  from  the  microphone  into 
strong  electrical  currents,  measurable,  and 
capable  of  doing  mechanical  work. 

Skipping  all  the  refinements  of  present 
day  recording  apparatus  (such  as  attenua- 
tors, compensators,  mixers,  etc.)  the  output 
of  the  amplifier  then  comes  to  the  recorder 
proper.  Of  these,  there  are  two  basic  types. 
In  one  system,  the  RCA,  the  intensity  of  the 


light  remains  constant,  and  hence  the  den- 
sity of  the  track  is  always  the  same;  but 
the  width  of  the  track  will  vary.  This  is 
accomplished  by  focusing  a  light  (called 
an  "exciter  lamp")  through  a  mirror — a 
moveable  mirror,  which  is  attached  to  an 
instrument  called  a  galvanometer,  which  is 
a  highly  specialized  form  of  an  electro- 
magnet. When  a  strong  current  is  sent 
through  this  magnet,  or  galvanometer,  it 
will  pull  the  mirror  into  a  position  which 
will  expose  the  entire  width  of  the  sound 
track  on  the  film.  When  a  weak  current 
flows  it  will  permit  a  spring  to  pull  the 
mirror  into  a  position  where  the  reflection 
of  the  exciter  lamp  will  only  cover  a  very 
small  portion  of  the  track  and  expose  only 
the  small  portion. 

Now,  then,  with  the  film  running  through 
the  recorder,  the  movements  of  this  mirror 
causing  alternate  wide  exposure  lines  and 
narrow  ones — corresponding  to  the  vibrat- 
ing electrical  impulses  coming  from  the 
microphone,  and  which  represent  the  sound 
waves,  will  expose  the  photographic  film, 
giving  it  an  impression  (photographic)  of 
what  is  happening  in  the  galvanometer,  and 
consequently,  in  the  microphone.  And, 
when  this  film  is  developed,  we  see  the 
characteristic  hills  and  valleys  that  repre- 
sent the  sound  itself. 

In  the  Western  Electric  system,  the  width 
of  the  track  is  constant.  Instead  of  having 
a  galvanometer  which  moves  a  mirror,  we 
have  a  "light  valve,"  which  permits  a  lot 


of  light  to  pass  through  it  when  a  strong 
current  is  flowing,  and  a  small  amount  of 
light  when  the  current  is  weak.  The  result 
is  a  track  which  is  of  uniform  width,  but 
of  a  varying  density.  But  the  variations  in 
the  amount  of  light  that  can  pass  through 
a  small  slit — or  line — of  light  focused  on 
this  film  are  the  same.  They  are  merelv  ex- 
pressed in  different  terms. 

The  reproduction  of  this  track  is  just  the 
reverse  of  the  recording.  A  small  beam  of 
light  from  an  exciter  lamp  is  focused  on 
the  track,  behind  which  is  a  photoelectric 
cell,  which  is  sensitive  to  light  changes. 
Where  a  condensation  occurred  in  the 
sound  wave,  a  strong  current  was  set  up 
by  the  microphone,  which  caused  a  dense 
exposure  on  the  film.  When  this  was  print- 
ed on  the  positive  it  became  a  light  ex- 
posure, or  line,  and  this  now  is  permitting 
a  lot  of  light  from  the  exciter  lamp  to 
reach  the  photocell.  The  opposite  is  true 
for  the  instant  there  is  a  rarefaction. 
The  photocell,  then  permits  varying 
amounts  of  electric  current  to  pass  through 
it,  varying  in  the  exact  manner  in  which  the 
microphone  picked  them  up  in  the  re- 
corder. This  output,  too,  is  very  small,  and 
is  passed  on  to  an  amplifier,  which  builds 
it  up  to  the  point  where  it  is  strong  enough 
to  do  some  practical  work,  and  is  then 
passed  on  to  the  loudspeaker,  where  the 
electrical  impulses  —  or  vibrations  —  are 
turned  back  into  mechanical  movements — 
or  sound  waves. 


P  fl  T  €  n  T  s 


By  ROBERT  W.  FULWIDER,  Patent  Attorney,  Los  Angeles 


No.  2,258,187— Integral  Mask  for  Mul- 
ticolor   Film.     Leopold    D.     Mannes, 
Leopold  Godowsky,  Jr.,  and  Lot  S.  Wild- 
er, assignors  to  Eastman  Kodak  Co.   Ap- 
plication May  15,  1941.   In  Great  Britain 
January  15,  1940.  4  claims. 
A  color  film  for  producing  corrected  color 
prints  which  has  in  order:  a  blue  sensitive 
emulsion;  a  yellow  filter;  a  slow  blue  sen- 
sitive emulsion ;   and  green  and  red  sensi- 
tive   emulsions;    of   which    the    slow    blue 
sensitive  emulsion  is  developed  to  form  a 
metallic  silver  masking  image. 

No.  2,258,313— Film  Filter.    Joseph  M. 

Bing.  New  York.    Application  February 

12,  1941.    5  claims. 
A  film  scraper  having  a  guide  rod  carrying 
a  slidable  head  which  may  be  moved  along 
the  rod  and  across  the  film. 

No.  2,258,356— Film  Splicer.    Jacob  M. 

Goldberg.  Denver  Colorado.   Application 

March  18,  1940.    12  claims. 
A  power  operated  film  scraper  in  which  an 
electric  motor  drives  a  toothed  cutter  which 
may   be  manually  moved  across  the  film. 


No.  2,258,558 — Apparatus  for  Obtaining 
Photographs  in  Color  by  Projection 
Copying.   Anne  Henri  Jacques  de  Lassus 
Saint  Genies,  Versailles,  France.    Appli- 
cation March  10,  1939,  Ser.  261,066.    In 
France  March  18,  1938.   5  claims. 
A  device  for  projection  copying  of  an  ori- 
ginal film  bearing  a  plurality  of  separation 
records  onto  a  copy  film  provided  with  a 
plurality  of  sensitized  layers  having  differ- 
ent photographic   properties. 

No.    2,258,976  --  Photographic    Sound 

Track.   Le  Roy  M.  Bearing,  assignor  to 

Eastman  Kodak  Co.   Application  May  3, 

1940.   4  claims. 

The  method   of   producing   a   sound   track 

in   a   photographic   film,   which   comprises 

printing  the  sound  track  image  on  the  film, 

developing    the    film   to    a   negative  sound 

image,  and  treating  the  sound  track  area  of 

the    film    with    a    combined   sulfiding    and 

iodizing   bath   to   form   a   combined   silver 

sulfide  and  silver  iodide  sound  track  in  the 

film. 

No.  2,259,415 — Camera  Focusing  Device. 


William   C.   Eddy,   Kenilworth,   111,   as- 
signor to  Balaban  &  Katz  Corp.,  Chicago, 
a  corp.  of  Delaware.    Application   Feb- 
ruary 5,  1941.    5  claims. 
A  camera  focusing  device  in  which  rough 
focusing  is  done  by  a  lever  moving  in  a 
plane   parallel   to   the  optical  axis  of  the 
lens,    and    screw    means   mounted    on    the 
lever  for  effecting  precise  focusing. 
No.    2,259,493  —  Automatic   Film   Jam 
Shutoff.    Melvin  Shorr,  Dayton,  Ohio. 
Application  April  4,  1941.    5  claims. 
A  motor  driven   film  rewind  with   a   loop 
catcher  which,  if  the  film  does  not  remain 
taut,  turns  off  the  motor  power  and  signals 
the  operator. 

No.     2,260,092 — Method     of     Creating 
Cartoon  Effects.  Leonard  B.  Pickley, 
assignor  to  Walt  Disney  Productions.  Ap- 
plication Dec.  26,  1939.   2  claims. 
A  method  of  producing  shadow  effects  in 
animated    cartoons    by    placing    a    colored 
transparent    film    over   the    picture   to   be 
photographed,  applying  a  protective  coat- 
ing over  parts  of  the  transparent  film,  re- 
moving the  color  from  the  remaining  parts, 
and  then  photographing  the  whole. 


International  Photographer  for  December,  1941 


21 


TRflDflll 


O.  H.  Young  is  New  Manager  of 
GE  Photolamp  Sales 

0.  H.  Young,  who  has  been  in  charge 
of  trade  promotion  for  G-E  Lamp  Depart- 
ment at  Nela  Park,  Cleveland,  has  just 
been  advanced  to  head  up  a  newly  formed 
Photolamp  Sales  Department.  As  manager 
of  this  new  Nela  Park  division,  Mr.  Young 
will  be  responsible  for  the  promotion  of 
G-E    Mazda    Photolamp    sales    throughout 


the  country  and  for  the  establishment  of 
new  sales  policies  designed  to  simplify 
present  rules  governing  wholesale  and  re- 
tail photolamp  relations  with  G.E. 

Assisting  Mr.  \  oung  in  his  new  posi- 
tion will  be  a  staff  of  trained  specialists 
who  will  devote  their  time  exclusively  to 
the  sale  of  photolamps.  The  new  organiza- 
tion will  supplement  the  work  of  G-E 
Lamp    Department's    seventeen    sales    divi- 


O.  II.  Young 


sions  which  blanket  the  United  States  in 
serving  distributors,  retailers,  professional 
and  amateur  photographers,  and  news- 
papers which  use  G.E.  Mazda  photolamps. 
"The  new  set-up  is  designed  to  put  us  a 
step  ahead  of  the  rapid  growth  of  the  pho- 
tographic market  in  recent  months,  espe- 
cially in  the  photoflash  and  photoflood 
fields,*'  officials  at  Nela  Park  said. 

News  from  Bell  &  Howell 

At  a  time  of  soaring  prices,  it  is  encour- 
aging to  note  that  increased  demand  can 
still  bring  about  price  reduction  in  new 
fields  that  are  just  developing  to  the  mass 
market  stage.  This  is  the  case  with  rental 
rates  on  feature  films.  Bell  &  Howell's 
Filmosound  Library  just  announced  reduc- 
tions in  the  rental  price  of  over  200  recrea- 
tional feature  films,  some  amounting  to  as 
much  as  50  per  cent.  Still  further  reduc- 
tions are  offered  to  "Annual  Service"  pat- 
rons who  use  not  less  than  six  features,  or 
forty  reels  of  short  subjects  in  a  year.  New 
catalogs  describing  the  library's  3,000  films 
are  available  to  owners  of  16mm.  projec- 
tors who  register  their  equipment  and  indi- 
cate their  approximate  rental  needs. 

Two  newcomers  to  the  list  of  alpine  ski- 
ing films  are  announced  by  Bell  &  Howell's 
Filmosound  Library — single  reelers  with 
musical  background  instead  of  narration, 
and  gorgeous  photography  of  snowscape 
and  winter  sport.  The  new  titles  are:  "Ski 
Symphony"  and  "Milady  Takes  to  Skiis." 

Others  in  the  same  series,  previously  re- 
leased by  other  distributors  but  now  taken 
over  exclusively  by  Bell  &  Howell,  are: 
"Skiing  with  Hannes  Schneider,"  "High 
School  of  Skiing,"  "Snowscapes,"  "Winter 
Magic,"  "Rock  and  Ice,"  and  "Winter 
Holiday." 

Other  new  subjects  in  the  Filmosound 
Library  include:  "In  Mozart's  Footsteps," 
"Flying  Paddles,"  "Baroque  Architecture," 
"Tyrol,"  "Masters  of  Sacred  Music"  and 
"Three  Dances  From  Vienna."  Older  re- 
leases in  the  same  series,  all  now  distributed 
by  Bell  &  Howell,  include:  "Village  Sym- 
phony," "Corpus  Christi,"  "Vienna — Home 
of  Waltzes,"  "A  Day  in  Vienna." 

The  long  series  of  single-reelers  in  color 
offered  by  Hell  &  Howell  Filmosound  Li- 
brary under  the  general  heading  "Our 
Colorful  World"  is  being  augmented  by 
several  new  arrivals.  Two  by  Dr.  A.  C. 
Twomey,  of  the  Carnegie  Museum,  deal 
with  (lie  work  of  the  naturalists  afield.  The 
first,  "In  the  Wake  of  the  'Beagle'  ",  traces 
the  historic  journey  of  Darwin  from  Tierra 
Del  Ku ego  to  the  Galapagos;  the  second, 
"Desert    in    Bloom,"    shows   the   flora    and 


22 


ARTHUR  MENKEN,  Paramount  Newsree/  man,  using  his  Eyemo 
"somewhere  at  the  front."  His  choice  for  this  work  is  a 
model  with  the  offset  turret  which  permits  simultaneous 
mounting,  without  interference,  of  a  wide  range  of  lenses. 


SINCE  their  introduction  16  years  ago,  Eyemos 
have  been  known  as  the  cameras  that  really  get 
the  unusual  shots  .  .  .  shots  difficult  or  impossible  to 
make  with  other  35mm.  cameras.  Eyemos  have  long 
been  praised,  too,  for  their  unfailing  performance 
under  conditions  trying  to  both  man  and  machine. 
And  now,  with  seven  improved  models  from  which 
to  choose,  Eyemos  have  more  to  offer  you  than 
ever  before! 

Probably  one  of  the  seven  standard  Eyemo  models 
will  meet  your  requirements  exactly.  But  if  not,  we 
won't  want  you  to  compromise.  We'll  modify  any 
Eyemo  so  that  it  will  measure  up  to  your  specifica- 
tions. This  close  collaboration  is  a  highly  beneficial 
result  of  the  B&H  policy  of  selling  Eyemos  in  just 
one  'way — direct  from  the  factory  to  you. 

Write,  or  visit  the  nearest  B&H  branch,  and 
tell  us  about  your  needs.  With  no  obligation  to 
you  we'll  gladly  submit  our  suggestions  for  your 
ideal  camera.  Bell  &  Howell  Company,  Chicago; 
New  York;  Hollywood;  Washington,  D.  C; 
London.  Established  1907. 


EYEMO  ACCESSORIES  add  to  the  great  inherent  versatility 
of  the  cameras  themselves.  They  include  a  special  Eyemo 
Heavy-duty  Tripod,  alignment  gauge,  lenses,  filters,  ex- 
posure meters,  editing  equipment,  and  especially  designed 
carrying  cases  for  the  cameras  together  with  the  com- 
monly used  accessories. 


-MADE        BY 


EYEMO  MODELS  L  and  M 

have  the  compact  type  of  three- 
lens  turret.  Viewfinder  is 
matched  to  6  lens  focal  lengths 
by  turning  a  drum;  shows 
"sound"  field  to  match  camera's 
"sound"  aperture  plate.  Oper- 
ating speeds:  Model  L — 4  to 
32  frames  per  second;  Model 
M— 8  to  48. 


EYEMO  MODELS  Pond  Q, 

most  complete  ofthe  seven 
standard  models,  have  three- 
arm  offset  turret,  prismatic  fo- 
cuser  with  magnifier,  and  pro- 
visions for  electric  motor  and 
external  film  magazines.  Speeds: 
Model  P— 4,  8,  12,  16,  24,  and 
32  f.p.s.;  Model  Q— 8,  12,  16, 
24,  32,  and  48  f.p.s. 


Send  Coupon  for  Complete  Information 

I       BELL  &  HOWELL  COMPANY 
1849  Larchmont  Ave.,  Chicago,  111. 

Please  send  complete  details  about:  (     )  Eyemo  35mm. 
Cameras;  (     )  Accessories  for  Eyemos. 

Name 

Address 

I 

a'y state ,P  ,~n 


BELL 


HOWELL 


International  Photographer  for  December,  1941 


23 


fauna  of  the  southern  Arizona  desert  and 
the  practical  work  of  a  group  of  naturalists 
who  assemble  a  habitat  group  for  their 
museum.  The  same  general  note  is  struck  in 
"Yellowstone  Wild  Life,"  by  Alfred  M. 
Bailey^  of  the  Colorado  Museum. 

"Northwest  in  Bloom"  shows  the  flowers 
of  Oregon  and  Washington  in  natural  col- 
or. Several  more  films  of  the  Northwest 
on  logging  and  farming  are  being  pre- 
pared. "The  Real  Hawaii,"  by  Leroy  Se- 
gall,  shows  the  principal  industries,  sugar, 
fruit,  tourists,  mixtures  of  peoples,  sur- 
vivals of  native  life,  and  defense.  "Porto 
Rico,"  photographed  by  George  Green- 
wood, is  similar.  Three  reels  on  Yosemite 
wild  life,  and  especially  the  National  Park 
Service  "Junior  Nature  School,"  are  also 
in  work;  the  first,  "Lets  Look  at  Trees," 
is  now  ready. 

Other  recent  color  reels  just  completed 
include  "Navajo  Sand  Painting,"  photo- 
graphed in  Monument  Valley  by  Jack 
Breed,  and  "American  Frontiers,"  an  ani- 
mated talking  map  in  color,  showing  the 
expansion  of  our  boundaries. 

Silent  or  sound,  these  are  priced  at  $60 
a  reel  in  color.  Where  monochrome  ver- 
sions are  effective  and  available,  they  are 
priced  at  $40  in  sound,  $24  silent.  All 
can  be  had  on  a  rental  basis  from  the  Filmo- 
sound  Library,  its  branches,  and  dealer 
representatives. 

The  Filmosound  Library  adds  to  its 
3,000  recreational  and  educational  films  on 


a  regular  month  by  month  schedule  that 
puts  into  non-theatrical  circulation  the 
same  high  grade  feature  films  that  have 
come  into  first-run  theatres  from  24  to  36 
months  earlier.  Leading  stars  appear  in 
these  top-flight  "A"  features,  bringing 
pleasure  to  shut-ins,  school,  home  and 
church  audiences,  after  their  theatrical  use- 
fulness has  been  fully  exploited.  Thus  the 
schedule  of  some  of  the  1942  releases  in- 
cludes: 

January  :"Topper  Takes  a  Trip"  (Con- 
stance Bennett  and  Roland  Young)  ;  Febru- 
ary: "Boys  From  Syracuse"  (Alan  Jones, 
Joe  Penner,  Martha  Raye);  March: 
"Spring  Parade"  ( Deanna  Durbin)  ;  April: 
"Little  Bit  of  Heaven"  (Gloria  Jean),  "Ze- 
nobia"  (Oliver  Hardy  and  the  elephant); 
May:  "One  Night  in  the  Tropics"  (Abbott 
&  Costello ) ,  "Captain  Fury"  (Brian 
Aherne,  Victor  McLaglen). 

And  so  on  through  the  year,  month  by 
month,  selected  feature  films  are  saved 
from  the  oblivion  of  the  vaults,  and  are 
made  available  to  church,  school,  home  and 
other  non-theatrical  audiences,  for  the  study 
and  enjoyment  through  the  Bell  &  Howell 
Filmosound  Library. 

Looking  For  Films? 
Here's  How  To  Find  Them 

The  Victor  Animatograph  Corporation, 
Davenport,  Iowa,  announce  the  release  of 
their  Eighth  Edition  Victor  Directory  of 
16mm  Film  Sources.  Owners  of  16mm  pro- 
jectors will  relish  this  news  as  this  source 


Motion  Picture  Equipment 

Studio  and  Laboratory  Tested  Since  1929 

AUTOMATIC  DEVELOPING  MACHINE 
COMPLETE  IN  EVERY  DETAIL 


HOLLYWOOD   USERS    CAN   ATTEST   MACHINE'S 
SUPERIORITY 

USERS  ALL  OVER  THE  WORLD  CAN  RECOMMEND 
THIS  DEVELOPING  MACHINE 

THIS    PRACTICAL    MACHINE    CAN    BE    USED    IN 
ANY  CLIMATE 

EASILY  INSTALLED— QUICK  DELIVERIES 

©  SENSITESTER — For  Light  Tests  and  Sensitometric 
Strips 

•  SOUND  RECORDING  SYSTEMS 


ART  REEVES 


Cable  address:  ARTREEVES 
1515  Cahuenga  Blvd.  Hollywood,  California,  U.  S.  A. 


directory  actually  tells  where  to  send  for 
films  on  the  subjects  in  which  they  are  in- 
terested. There  are  over  600  sources  listed 
therein  and  225  subjects  covered  in  silent 
and  sound  films. 

Educational  Section:  Here  will  be  found 
pages  of  information  devoted  to  the  film 
libraries  and  rental  service  available  from 
universities,  colleges  and  departments  of 
education  in  your  State.  The  men  and 
women  directing  the  activity  of  these  li- 
braries discuss  the  utilization  of  the  mo- 
tion picture  in  education  and  prophesy  the 
future  growth  and  development  of  this 
medium  of  instruction,  based  on  their  ex- 
periences and  observations  in  the  field. 
County  and  City  School  Cooperative  Film 
Libraries,  as  well  as  Independently  owned 
City  School  Film  Libraries,  are  listed. 

Editorial  Section:  The  editorials  contain 
a  wealth  of  information  pertaining  to  the 
use  of  films  in  the  classrooms,  in  churches, 
in  the  home  and  by  industrial  organiza- 
tions. Every  effort  has  ben  put  forth  to 
make  this  film  source  directory  virtually  a 
bibliography  of  information  on  films, 
where  to  locate  them,  and  how  to  use  them. 
The  price  is  50c.  Address  your  request,  ac- 
companied by  remittance,  to  Directory  Edi- 
tor, Victor  Animatograph  Corporation, 
Davenport,  Iowa. 

Revised  Prices  on  Goerz  Lenses 

In  a  trade  letter  just  received  from 
Goerz  American  Optical  Company  they  an- 
nounce: 

"Rising  labor  costs  have  made  it  neces- 
sary to  revise  our  prices  of  photo  lenses 
slightly  upward.  Besides  this  we  have  had 
to  add  10  per  cent  Federal  Excise  Tax  im- 
posed on  the  net  dealer's  price. 

"While  defense  orders  take  up  a  consid- 
erable part  of  our  production,  we  continu- 
ally endeavor  to  replenish  our  limited  stock 
of  lenses  for  civilian  use.  Please  antici- 
pate your  requirements  as  much  as  possible 
and  impress  upon  your  respective  custom- 
ers to  do  the  same." 

Write  C.  P.  Goerz  American  Optical 
Company,  317  East  34th  St.,  New  York 
for  new  price  lists. 

Amateur  Press  Photographer's  Outfit 

A  unique  Amateur  Press  Photographer's 
Outfit  containing  all  the  essential  items  for 
successful  flash  pictures  at  night,  as  well 
as  daytime  pictures,  has  just  been  an- 
nounced by  Agfa  Ansco. 

The  complete  flash-camera  outfit  con- 
tains: An  Agfa  Cadet-Flash  Camera;  Flash 
Unit  with  Reflector;  8  Mazda  Photoflash 
Lamps;  an  Adapter  for  the  lamps;  2  No. 
915  (size  AA)  Eveready  Batteries;  and  2 
rolls  of  Agfa  A8  (same  size  as  127)  Super- 
pan  Press  Film. 

The  inexpensive  Amateur  Press  Photo- 
grapher's Outfit  will  be  a  popular  gift  item 
inasmuch  as  it  retails  for  less  than  $5.00 
and  represents  a  combination  of  high  qual- 
ilv  photographic  products  that  may  be 
used  by  both  children  and  grown-ups  to 
obtain   excellent   pictures. 


24 


See  how  20th  Century-Fox  uses  "INKIES 
to  make  Technicolor  more  effective 


Can  Inkies  help  in  Techni- 
color? "You  bet,"  says  20th 
Century-Fox,  and  this  scene 
from  "Week-end  in  Havana" 
shows  how  they  put  G-E 
Mazda  lamps  to  work. 

1.  See  how  they've  clustered 
"inkies"  about  the  table  to 
make  the  scene  sparkle  and 
to  pick  up  desired  detail  here 
and  there.  That's  taking  ad- 
vantage of  the  compactness 
in  equipment  which  G-E 
Mazda   lamps  permit.    You  can  slide  them  in  anywhere; 


New  5-KW  lamp 
for  studio  use 


even,   in   some   cases,   concealing    them  in   the   scene   itself. 

2.  Closely  allied  to  this  is  their  flexibility  in  mounting,  for 
G-E  Mazda  lamps  burn  /'//  any  position.  You  can  hang 
them  anywhere  .  .  .  above  or  below  the  scene  or  close  to 
the  walls  to  get  the  effect  you  want. 

3.  They  offer  you  versatility  which  makes  it  easy  to  "paint 
with  light"  to  create  the  effect  you  want  or  need.  With  a 
daylight  filter  over  General  Electric  "CP"  lamps,  your  light 
is  color  corrected  for  Technicolor;  blends  with  arcs  or 
daylight.  Unfiltered,  these  lamps  simulate  the  warmth  of 
lamp  light  indoors.  While  by  using  standard  G-E  Mazda 
lamps,  you  can  create  the  glow  of  firelight.  Are  you  taking 
full  advantage  of  this  help  that  G-E  Mazda  lamps  can 
give  to  make  your  pictures  better? 


GENERAL  (gg)  ELECTRIC 

MAZDA  LAMPS 


International  Photographer  for  December,  1941 


25 


A  COMPLETE  MEANS  OF  INSTANTANEOUS  PARTICIPATION  IN  SIGHT  AND  SOUND 


T€LE  V 


From  the  lol'ly  height  <>f  650  feet  above  sea  level,  the 
Du  Mont  television  station  W2XWV  antenna  dominates  the 
metropolitan  New  York  area  with  its  powerful  video  and 
audio  signals.  The  station  and  studios  are  located  on  the 
top  floor  of  the  42-story  skyscraper  at  515  Madison  Ave- 
nue. The  steel  tower  is  topped  by  a  mast  that  can  be 
raised  and  lowered  down  to  the  platform  atop  the  tower, 
for  maintenance  of  the  antenna  proper. 


26 


Fluorescent  Lighting  for 
Television  Studios 

Television  performers  need  no  longer 
dread  the  ordeal  of  powerful  lights,  with 
their  glare  and  heat,  heretofore  accompany- 
ing the  performance  before  the  television 
studio  camera.  By  going  over  to  fluorescent 
illumination.  Du  Mont  engineers  have  re- 
duced glare,  and  particularly  heat,  to  a 
minimum,  while  providing  a  more  desired 
diffused  lighting  for  satisftctory  television 
images. 

In  place  of  powerful  incandescent  lamp 
bulbs  of  the  spotlight  type  heretofore  fav- 
ored for  television  studio  pickup  work,  24 
fluorescent  lamp  tubes  have  been  installed, 
totalling  960  watts,  in  the  New  York  tele- 
vision station.  This  wattage  is  but  a  small 
fraction  of  the  wattage  heretofore  required. 
Also,  the  fluorescent  lamps  run  quite  cool. 
The  tubes  are  mounted  in  horizontal  rows 
on  heavy  framework,  in  two  banks,  placed 
on  either  side  of  the  television  camera  fac- 
ing the  performers.  Operating  on  three- 
phase  current,  these  fluorescent  lamps  in- 
dicate a  high  power  factor.  The  total  effect 
is  virtually  that  of  six-phase  operation. 
Meanwhile,  otherwise  objectionable  flicker 
of  individual  fluorescent  lamps  is  can- 
celled out,  and  a  perfectly  smooth,  steady, 
ideal  flat  illumination  of  virtual  daylight 
quality  is  obtained.  For  dramatic  or  mod- 
eling effects,  one  or  more  baby  spots  are 
added  to  the  general  fluorescent  lighting. 

The  fluorescent  lamp  installation  is  but 
one  of  the  several  unique  features  to  be 
found  in  the  Du  Mont  television  studios  of 
Station  W2XWV  on  the  42nd  floor  of  515 
Madison  Avenue,  where  engineers  are  com- 
pleting and  testing  the  equipment  in  an- 
ticipation of  early  video  broadcasting  on 
a  scheduled  and  commercial-license  basis. 

S.M.P.E.  Honors  Late 
Herman  A.  De  Vry 

By  unanimous  decision  the  members  of 
the  Society  of  Motion  Picture  Engineers, 
while  in  executive  session  during  recent 
convention  in  New  York  City,  approved 
the  proposal  of  the  Society's  Board  of 
Governors  that  the  name  of  Herman  A. 
DeVry  be  added  to  the  Society's  Honor 
Roll.  This  Honor  Roll,  international  in 
scope,  was  established  in  1931  for  the  pur- 
pose of  perpetuating  the  names  of  distin- 
guished pioneers  who  are  now  deceased. 

In  accordance  with  the  practice  of  this 
Society,  Mr.  DeVry's  name  will  be  the  tenth 
name  to  be  included  in  the  list  of  distin- 
guished pioneers  of  the  motion  picture  in- 
dustry as  printed  each  month  on  the  back 
cover  of  the  Society's  monthly  Journal. 


A  portion  of  the  huge  hacienda  set  which  serves  as  background  for  the  colorful  "Fiesta," 
directed  by  LeRoy  Prinz.  Robert  Pittack  and  Al  Gilks,  first  cameramen;  George  Clemens, 
operator;  Thad  Brooks,  technician  and  Nelson  McEdward,  assistant.  Still  by  Clarence 
Graves. 


Totqh  Filivi 

(Continued  from  Page  18) 

ings,  and  it  was  his  belief  that  had  he  not 
reached  his  maximum  audience  with  his 
existing  equipment  the  film  would  have 
stood  an  additional  2800  projections.  At 
Treasure  Island,  from  September  10  to  29, 
1940,  a  single  processed  reel  showing  the 
Hetch  Hetchy  water  project  was  used  every 
15  minutes  for  some  12  hours  a  day, 
totalling  about  900  showings.  The  user  re- 
ported that  "the  print  is  still  in  good  con- 
dition, a  little  oily,  but  otherwise  in  good 
shape." 

While,  ideally,  film  should  be  processed 
before  it  is  ever  projected,  in  order  to  pre- 
vent damage  which  is  as  apt  to  occur  dur- 
ing the  first  showing   as  during  the   last, 


old  film  is  partially  restored  and  its  fur- 
ther deterioration  is  prevented,  with  appli- 
cation of  the  process.  Grayness  in  black 
and  white  film,  resulting  from  tarnishing 
of  the  silver  is  in  large  measure  prevented 
by  the  process  and — this  is  one  of  the  hard- 
est to  believe — definition  is  added  to  the 
film  itself. 

Smoother  projection  results  from  appli- 
cation of  the  process,  and  with  less  ten- 
sion on  the  sprocket  holes  there  is  apt  to 
be  less  breaking. 

You'd  think  a  story  like  that  would  have 
been  told  before,  wouldn't  you?  It  is  being 
told  now,  and  the  process  is  being  made 
available  to  any  user  of  motion  picture 
film,  requiring  a  miximum  of  24  hours  in 
the  laboratory,  calling  for  a  very  little  ex- 
penditure. 

And  the  claims?  You  think  them  impos- 
sible?   In  1836  there  was  a  movement  to 


close  the  patent  office  because  everything 
worthwhile  had  been  invented;  undoubted- 
ly there  are  records  showing  why  it  was 
impossible  for  Bell  to  invent  the  telephone, 
Marconi  the  wireless,  Edison  the  Kineto- 
graph.  Yet  the  impossible  was  accom- 
plished— and  the  patent  office  does  a  bigger 
business  every  year. 

There  is  one  final  answer — the  judg- 
ment of  the  unbeliever  after  thorough  an- 
alysis. The  O'Sullivan  Film  Process  invites 
any  test  the  technician  may  care  to  make, 
and  suggests,  meanwhile,  that  "If  it's  worth 
filming,  it's  worth  preserving."  Those  who 
want  tough  film  can  get  it  here. 


Subscribe  Now! 
INTERNATIONAL 
PHOTOGRAPHER 

$2.50  in  U.  S.  A.,  $3.00  in  Europe  and  Canada 


International  Photographer  for  December,  1941 


27 


Thsy  SAy*' 


•  Ray  Rennahan  and  Harry  Hallenberger 
first  cameramen  on  Paramount  Production, 
"For  Whom  the  Bell  Tolls."  Bill  Clothier, 
second  cameraman,  will  feel  right  at  home 
during  the  shooting  of  the  picture,  as  Bill 
was  a  resident  of  Madrid  during  the  Span- 
ish Civil  War. 

•  Ray  Flinsky  receiving  congratulations 
on  his  marriage  to  Elizabeth  McNulty. 
They  have  just  returned  from  a  motor  trip 
through  Nevada  and  Arizona.  "Pigeon  Bet- 
ter Bring  Message"  or  Ray's  column  in  Re- 
public Insider  will  be  brief  this  time. 

•  Sol  Polito  has  been  achieving  some  in- 


By  RELLA 

teresting  effects  in  the  new  Capra  picture. 
The  other  day  the  entire  set  was  lighted  by 
a  match  held  in  Cary  Grant's  hand. 

•  Bert  Glennon  is  a  Captain  in  the  United 
States  Reserves  in  the  aviation  field.  Cap- 
tain Glennon  left  his  camera  during  the 
World  War  to  go  over  and  bag  a  few  enemy 
planes,  then  came  back  and  took  up  where 
he  left  off  in  photography. 

•  Mickey  Marigold  bagged  a  deer  for 
Thanksgiving. 

•  James  S.  Brown,  Jr.,  enjoying  many 
years  of  success  at  Larry  Darmour  Studios. 


We  Salute! 


Paul  Mohn,  Chief   Petty  Officer,  Photo   Division,   United  Stales  Navy 
ami  Captain  William  F.  Whitley,  United  States  Air  Corp. 


In  addition  to  being  an  excellent  photogra- 
pher Jim  is  a  very  pleasant  fellow  who 
skilfully  handles  persons  and  that  makes 
everything  buzz  with  harmony  at  the  Dar- 
mour lot. 

•  President  Gus  Peterson,  Jockey  Feindel 
and  Cliff  Shirpser  left  for  the  outskirts  of 
Utah  to  work  in  the  snow  region  for  Jam 
Handy. 

•  Elmer  Fryer  now  in  the  gallery  at  Para- 
mount Studio. 

•  Sam  Greenwald,  first  newsreel  camera- 
man to  fly  in  the  B-19,  world's  largest. 

©  Francis  J.  Burgess  discharged  from 
service  and  back  as  assistant  to  Leo  Tover. 
However,  "Skippy"  says  he  has  a  standby 
call. 

©  Fred  Parrish,  still  cameraman  at  Re- 
public, was  with  Fox  News  Weekly  in  his 
former  days.  His  hobby  is  boating,  where 
he  relaxes. 

•  Joseph  Roberts  of  MGM  was  the  camera- 
man who  photographed  the  first  meeting  of 
President  Roosevelt  and  Winston  Churchill 
off  the  coast  of  Iceland.  Trip  was  made  on 
a  Canadian  destroyer,  later  transferring  to 
the  S.S.  Augusta.  Harry  Marble,  assistant, 
stayed  behind  in  a  hotel  while  Harold  Mar- 
zorati  went  along. 

•  Stanley  Cortez  photographing  the  Orson 
Welles  production.  Floyd  Crosby  covering 
in  Mexico  City. 

•  Hal  Mohr  completing  "Twin  Beds"  for 
Edward  Small  Productions. 

•  Paul  Ivano  enjoying  a  very  successful 
season  going  from  United  Artists  Studios 
to  Fine  Arts  Studios,  to  Pathe  RKO,  with- 
out any  time  off.  Les  Schorr,  his  second, 
seems  to  be  doing  equally  well. 

©  Joe  Johnson,  Universal  newsreeler, 
proud  possessor  of  a  ranch  in  Oregon.  Joe 
may  have  some  cameraman  fishing  in  his 
backyard  some  day. 

©  Dave  Abel  back  in  the  fold  once  more. 
Now  working  at  Paramount  Studio. 

•  Gifford  Chamberlain  of  Technicolor  is 
an  expert  18.2  Balkline  billiard  player. 

•  Dexter  Alley  called  into  service  at  Nor- 
folk, Virginia  by  the  United  States  Navy. 

CLASSIFIED 

WANTED:  B  &  H  OR  MITCHELL  COMPLETE 
WITH  TRIPOD  AND  ACCESSORIES.  Give  full  de- 
tails first  letter  and  lowest  cash  price.  New  Rex  The- 
atre,   Madera,    Calif. 

EYEMO  CAMERA  WANTED.  Will  pay  cash.  Give 
full    details   first   letter.     Address   Box    155,    Deerfield,    111. 

SPOT  CASH  FOR  ZEISS  TESSAR,  BAUSCH  &  LOMB 
TESSAR  and  GOERZ  DAGOR  LENSES.  State  condi- 
tion, focal  length,  aperture  and  lowest  cash  price.  Box 
155,   Deerfield,   111. 

WANTED  TO  BUY  FOR  CASH 

CAMERAS   AND   ACCESSORIES 

MITCHELL,  B.  &  H.,  EYEMO,  DEBRIE,  AKELEY 

ALSO     LABORATORY     AND     CUTTING     ROOM 

EQUIPMENT 

CAMERA    EQUIPMENT   COMPANY 

1600  Brodawav  New  York  City 

Tel.  Circle  6-5080— Cable:  CINEQUIP 


28 


GENEROUS 
CONTRIBUTORS 


BECAUSE  of  their  exceptional  ability 
—  each  in  its  own  field  —  to  record 
completely  the  beauty  of  every  scene, 
Eastman  negative  films  have  contrib- 
uted their  part  to  the  success  of  modern 
screen  productions.  Eastman  Kodak 
Company,  Rochester,  N.  Y. 

J.  E.  BRULATOUR,  INC.,  Distributors 
Fort  Lee  Chicago  Hollywood 


PLIJS-X  SUPER-XX 

for  general  studio  use  when  little  light  is  available 

BACKGROITND-X 

for  backgrounds  and  general  exterior  irork 

EASTMAN  NEGATIVE  FILMS 


(&anb  Mill 

attft 

damprarraft 

nf  tljf 

JHotinn  prtar?  Jttftaatn) 


S.  <tt.  Irulatoitr,  3nr. 

HiHtrthutorB 

Eastman  JBnttnn  prtur*  3Ftlm 


iaa 


H 


■ 


pips 


H 


H«Ksk\l 


wimJffii 


I 
Sff_ 


■7/ 


mmk 


Wwmm 


mm 


I 


mmm 


■mm 


1.1  f 


'.til- 


1 


TOM